European Symbols

Transcription

European Symbols

European Symbols
Modules for a European Schoolbook
Euroclassica 2011
Paris, 26/8/2011
Project Description
„European Symbols“ for Students of Classical Languages
modules for a European schoolbook
Schedule:
30.04.2009
deadline for electronic manuscript of first edition. Send e-manuscript to
the coordinators Peter Glatz peter.glatz@eduhi.at und Andreas Thiel
a.thiel@eduhi.at
30.06.2009 Finish of layout and draft print of the first version.
16.08.2009 edition of the first version of „European Symbols“
27.-30.8.2009 presentation at the Euroclassica 2009 in Skopje
2009/2010
emendation, extension of contributions and improvement of concept
3.-5.9.2010 presentation of the status quo at the Euroclassica 2010 in Madrid
25.-28.8.2011 presentation of the status quo at the Euroclassica 2011 in Paris
2011- 2013 final layout and ultimate version of „European Symbols“
Current project members - September 2008 – August 2011:
Austria
Belgium
Czechia
Croatia
Denmark
Germany
Great Britain
Greece
Lithuania
The Former
Yugoslav
Republic of
Macedonia
The
Netherlands
Portugal
Romania
Russia
Spain
Glatz Peter
Thiel Andreas
Christian Laes
Barbara Pokorna
Bagaric Jadranka
Jens R. Poulsen
Margit K. Jørgensen
Helmut Meissner
James Neville
Antony Makrinos
Mantas Adomenas
peter.glatz@eduhi.at
a.thiel@eduhi.at
Christian.Laes@ua.ac.be
barbara.pokorna@upol.cz
jadranka_bagaric@yahoo.com
jr@borgerdyd.dk
mj@silkeborg-gym.dk
hmeissner@gmx.de
jwn2@tutor.open.ac.uk
a.makrinos@ucl.ac.uk
ianuarium@gmail.com
Dimovska Vesna
vesna.dimovska@gmail.com
Tijsseling Egge
Oliveira Francisco
Cretia Gabriela
Elena Ermolaeva
José Luis Navarro
Sweden
Tarandi Eva Scough
Switzerland
Christine Haller
Aellig
tijssling@felisenum.nl
felitijs@xs4all.nl
euroclassic@ci.uc.pt
gabrielacretia@yahoo.ro
ml304@mail.ru
NAVARRAKIS@terra.es
eva.tarandi@utbildning.stockholm.se
eva@tarandi.se
christine_haller@hotmail.com
photo titlepage: source: http://upload.wikimedia.org/wikipedia/commons/3/34/800pxEuropa_und_der_Stier_C.jpg, Valentin Aleksandrovich Serov, The Rape of Europe,
printed by GTI, 2011
[09.08.2009]
„European Symbols“ –
A European Schoolbook for Students of Classical Languages
The point of this project is to create a European schoolbook which may be used by pupils in all
countries of Europe. The fascinating idea of the European Union should be represented in this
common schoolbook for all European students of the classical languages showing the common
cultural roots of Europe.
Each European country is invited to contribute four pages showing the reception of classical
culture and thinking in politics, social norms, art, literature, philosophy, law, etc. corresponding to the
chosen genuine national symbol, a truly relevant popular text or person of national interest and
popularity. The population of the country should be ready to identify on a broad national consensus
with the choice. The ideal choice is not taken from classical antiquity but rather from later times or the
present. The texts meet the target competences of the ECCL (http://www.anderslernen.net/ec/) at
PALATIUM level, which asks for the introduction of authentic texts on Europa Latina, figures and
characters from mythology and history, Roman roots and ruins in the respective mother country,
or/and THESAURUS level, which also caters for authentic texts including e.g. texts by Erasmus,
Comenius, lyric poetry and texts on the impact of Latin language and literature. All texts are expected
to be introduced, commented and supplied with suitable illustrations or pictures. Special effort is taken
in finding sufficient well-considered questions of interpretation to go with the texts.
The level applied for designing the comments on morphology and syntax should also
correspond to the level of PALATIUM or/and THESAURUS in the ECCL. Annotations and reference
to vocabulary will be adapted to the respective levels as soon as the ECCL word lists are available.
There should be no reference to either national curricula or any national books. The texts are also
offered
online
by
www.euroclassica.eu
in
a
special
project
community
(http://community.schule.at/index.php?cid=9630) and each individual teacher may adapt the product
to their individual needs. Translations, teacher handbooks and further online materials are offered
there as well. As English is taught as the first foreign language in most countries of Europe, the
language of the schoolbook is English thus catering for optional bilingual teaching in each European
country, but, of course, also allowing traditional treatment of the central European texts in the mother
tongue.
In the first two years of the project the following countries have taken an active part in the
project and have contributed material concerning a national symbol: Austria, Belgium, Croatia,
Germany, Greece, Lithuania, The Former Yugoslav Republic of Macedonia, The Netherlands,
Portugal, Romania, Russia, Sweden and Switzerland. As this project was approved by the general
assembly of Euroclassica in Ohrid in 2009, all other European nations are very welcome to join in.
The project should be finished within the next 2 years.
As follows you can find the Austrian part of the European schoolbook presenting the
Karlskirche of Vienna as a beautiful example of Habsburg architecture based on the concept of the
“translatio imperii”, the Belgian part on Erasmus’ Panegyric for a Prince as a joyous entry into
political culture, the Croatian contribution on the father of Croatian literature, the Croatian Dante,
Marcus Marulus, Germany’s part on Melanchton’s impact, the Greek contribution on C. P. Cavafy’s
mythologoical-didactic poem Ithaca, the Lithuanian part on the cathedral of Vilnius, the Lithuanian
Parthenon, the contribution of the Former Yugoslav Republic of Macedonia on Grigor Prlichev and
his Greek epic on the freedom fighter Skanderbei, which bears clear allusions to Homer’s Iliad, the
Dutch contribution on Desiderius Erasmus’ Praise of Folly, which reflects his lasting impression on
European thoughts and views, the Portuguese part on the University of Coimbra, the Romanian
contribution on Dimitrie Cantemir’s Descriptio Moldaviae, the Russian contribution on Sigismund von
Herberstein’s Rerum Moscoviticarum Commentarii, which report on his experiences in Russia in the
16th century, the Swedish contribution on the Wasa warship, whose hull and beak are full of figures
from Greek and Roman myths and the Swiss contribution on the freedom fighter Wilhelm Tell.
These contributions are meant as preliminary versions waiting for real classroom testing around
Europe, evaluation and amendment before the final edition.
Andreas Thiel and Peter Glatz, administrators of www.euroclassica.eu , August 2011
AUSTRIA: Imperial Propaganda in the Habsburg Monarchy
by Peter Glatz and Andreas Thiel, Austria
The Vienna Karlskirche, one of the most
eminent sacral Baroque buildings in Europe,
was built between 1716 and 1737 in
fulfilment of a solemn vow taken by
Emperor Charles VI in 1713 when the
plague had visited Vienna for the second
time within two decades and roughly 10000
people had died. The magnificent church
was constructed in honour of Charles’ name
saint and the patron saint of the plague, St.
Charles Borromeo, by the architect Bernhard
Fischer von Erlach and later by his son
Joseph Emanuel. The significance of the
Vienna Karlskirche as a Baroque votive
offering is clearly overshadowed by the source: http://en.wikipedia.org/wiki/File:Karlskirche_Vienna_Front.jpg, CCobvious spirit of imperial propaganda
BY-SA-2.0-DE, [31.5.2009]
expressed by manifold architectural
allusions devised in Carl Gustav Heraeus’ iconocraphical program of the
church. The exterior of this most spectacular Baroque cathedral north of
the Alps is an eclectic jumble, with an oval dome perched atop a
Classical colonnade reminiscent of St. Peter’s in Rome and a main portal
resembling a Greek temple flanked by two replicas of Trajan's column in
Rome alluding to Boaz and Jachin, two columns which stood in the porch
of Salomon’s Temple in Jerusalem, and the ancient Pillars of Hercules in
source: Tempel Salomos, reconstruction
taken from: Volz, Paul: Die biblischen
the Strait of Gibraltar.
Altertümer. Calw + Stuttgart. 1914, 29.
Heraeus, Carl Gustav, Brevis explicatio numismatum aliquot ex iis quae in imperatoris Carolis VI historia
numismatica aeternitati Augusti dicantur, o.O.,o.J. (ÖNB 45.F.23).
Discussing the medal cast to commemorate the cornerstone ceremony of the Vienna Karlskirche Charles
VI’s iconographer describes the building’s unique exterior:
1
Templi
in
suburbio1
prospectum2
augustiorem3
reddunt Columnae Colossicae, quae intus4 cochlide5
aditum praebent ad minores Campanas6, extra7 Sancti
Caroli Borromaei in utraque fortuna8 Constantiam et
5
Fortitudinem exhibent Opere Anaglyptico9, imitantes
in Trajani, Antoninique Monimentis formam, non
laudes Caesaris, quas Ejus modestia ad Divum suum
deprecatorem10 retulit11, ita ut Columnae muta et
secundaria12
tantum
significatione
Fundatoris
10 Symbolum13 loquantur14.
1. suburbium, -i n.: suburb; 2. prospectus, -us m.: view; 3. augustus 3 :
majestic; 4. intus : adv.: within,
inside, on the inside; 5. cochlis, -idis
f.: spiral shell, conch; 6. campana, ae f. : bell; 7. extra: adv.: outside, on
the outside; 8. in utraque fortuna:
both in fortune and misfortune;
9. anaglypticus 3: carved/embossed in
low/bas relief; 10. deprecator, -oris
m.: one pleading for mercy, gobetween, champion/ advocate;
11. refero, -ferre, -tuli, -latus: to
assign, to transfer; 12. secundarius 3:
of secondary significance; 13.
symbolum, -i n. : here: motto
14. loquor 3 locutus sum: here: to
declare;
Comments:
3 Sanctus Carolus Borromaeus (1538 – 1584): son of Giberto II Borromeo and Margherita de’ Medici;
Italian cardinal and patron saint of the plague
4 Constantia et Fortitudo: constancy and strength were Charles VI’s motto and echo the symbolism of the
two ancient pillars Boaz (strength) and Jachin (unity) of the Salomonic Temple in Jerusalem.
European Symbols
1
6 Traianus, -i. (52 – 117): Roman Emperor 98 – 117; expanded the Roman Empire to its greatest extent;
deified and buried beneath Traian’s Column in Rome; Antoninus, -i. (121 – 180): Marcus Aurelius
Antoninus Augustus, Roman Emperor 161 – 180 and Stoic philosopher, fought against Germanic tribes and
Sarmatians commemorated by a colossal column in Rome.
Questions and Tasks:
1. In which different ways is the symbolism of the
Karlskirche an expression of imperial propaganda?
2. What is the connection between Spain’s national motto
plus ultra and Charles VI’s Constantia et Fortitudo?
What is the origin and the meaning of the Latin proverb
non plus ultra?
3. Which qualities of Charles VI are expressed by Carl
Gustav Heraeus?
Traian’s Column
Andreas Thiel)
(photo: Emblems of Charles I of Spain in the Town
Hall of Seville (photo: Ignacio Gavira,
http://en.wikipedia.org/wiki/File:Columnas_
Plus_Ultra.png, licence: GFDL,[30.5.2009]
The
Coat
of
Spain
(source: Marcus Aurelius’ Column
SanchoPanzaXXI,
(photo: Andreas Thiel)
http://commons.wikimedia.org/wiki/File
:Escudo_de_Espa%C3%B1a_(mazonad
o).svg licence: GFDL [31.5.2009]
Theresias. Szenen aus dem Österreichischen Erbfolgekrieg 1741-1745. Epos eines unbekannten Lothringers
in neun Büchern lateinisch und deutsch, Heinz Martin Werhahn, Neuss, 1995.
Charles VI’s daughter Mara Theresia succeeded to the Austrian throne and Habsburg lands after her father’s
death in 1740. In spite of the Pragmatic Sanction of 1713, which had been designed to guarantee Maria
Theresia’s inheritance of the crown, France, Prussia, Bavaria and Saxony reneged and contested her claims
on Austrian lands and initiated the War of the Austrian Succession, in which Austria lost Silesia to Prussia.
Maria Theresia’s accession to the throne and the ensuing acts of war triggered an abundance of encomiastic
literature1. Among the epic verse panegyrics of the time the anonymous Theresias in 9 books successfully
attempts to transform Maria Theresia into a heroine of epic scale. This is largely due to numerous well
chosen allusions to Virgil’s Aeneid and the panegyric elements in it. In the 8th book of the Theresias after
several of Maria Theresia’s brother-in-law Charles of Lorraine’s defeats in the armed conflict with Prussia
the poet lets her find comfort, when her father, the late emperor Charles VI, appears in her dream2.
1
Elisabeth Klecker, Tradition und Moderne im Dienst des Herrscherlobes: Beispiele lateinischer Panegyrik für Maria
Theresia, in Franz. M Eybl (Hrsg.), Strukturwandel kultureller Praxis: Beiträge zu einer kulturwissenschaftlichen Sicht
des theresianischen Zeitalters, Wien, 2002 (Jahrbuch der Österreichischen Gesellschaft zur Erforschung des achtzehnten
Jahrhunderts, 17), 233-247.
2
The choice and composition of the following texts ows much to Elisabeth Klecker, Maria Theresia und Aeneas:
Vergilrezeption zur Bewältigung der weiblichen Erbfolge, in Camaenae Hungaricae 2 (2005) 111-126.
European Symbols
2
Theres. 8, 640-646:
640
Ter conata1 patris collo dare bracchia circum,
ter frustrata2 videns simul evanescere3 vultus,
O pater, exclamat, pater, o, da4 jungere dextram
teque nec amplexu5 nec votis subtrahe6 nostris!
Dixerat, et subito jam prompta7 dare oscula dextrae,
645
par levibus ventis volucrique simillima somno
aspicit8 aufugiat9 cari genitoris10 imago.
1. The PPA conata refers to Maria
Theresia; 2. frustror 1: to deceive,
dupe, trick, disappoint;
3. evanesco 3 -nui: to vanish,
disappear; pass away; 4 do 1 +
Inf.: to grant, to permit;
5. amplexus, -us m. : embrace;
6. subtraho 3 -traxi, -tractus :
here: + Abl.: to evade sth.;
7. promptus 3: refers to Maria
Theresia; prepared, ready;
8. aspicio 3M + subjunctive: to
watch as…;9. aufugio 3M -fugi :
to flee, escape, disappear;
10 genitor, -is m. : father
Comments:
640sqq.: Ter conata patris…: The whole scene is modelled on Aeneas’ encounter with his father Anchises
in the underworld in book 6 of the Aeneid. Just as Aeneas tries to embrace his father’s shadow to no avail,
Maria Theresia’s three attempts at hugging her father prove futile.
Compare Aen. 6, 700f.:
ter conatus ibi collo dare brachia circum;
ter frustra comprensa manus effugit imago
642sq.: da jungere dextram:
Da iungere dextram,
da, genitor, teque amplexu ne subtrahe nostro.
645sq: par levibus ventis…
Compare Aen. 6, 702:
par levibus ventis volucrique simillima somno
simillima somno: In the Theresias Aeneas’ katabasis into the Underworld is replaced by a dream
appearance, which is traditional in Neo-Latin literature, as the imagination of a Christian leader’s descent
into the Underworld, which was considered to be hell, had to be avoided. In Ioannes Battista Nigronius’
Bellum Pannonicum, Utini, typis Nicolai Schiratti, 1666, Leopold I meets his father Ferdinand III in a dream.
Maximilian I appears to his grandson Charles V in Ioannes Pedioneus Rhaetus, De bello germanico liber,
Ingolstadt, Alexander Weissenhorn, 1547.
Theres. 8, 615:
In Virgil’s Aeneid the underworld encounter with Anchises aims at providing Aeneas with an extensive
account of Rome's future glory, particularly in the glorification of Augustus. Virgil renders Augustus the
epitome of the Roman Empire, the promised ruler who presides over the Golden Age. Maria Theresia’s
dream in the 8th book of the Theresias serves quite a similar purpose. After predicting Francis Stephen of
Lorraine’s crowning as Emperor of the Holy Roman Empire Charles VI seems to almost quote Virgil’s
catalogue of heroes.
615
Gloria quanta tuos maneat1 quoque sanguine natos
progeniem2que tuam nostrosque tuosque nepotes
illustres3 animas Lothari4que in nomen ituras
expediam5 paucis6: Parvus tuus ille Iosephus7
quem mihi nascentem Di posse videre negarunt8
620
hic puer, hic vir erit Francisco Caesare patre9,
qui Romanorum regum, qui stirpis10 avitae11
Caesareum augebit numerum totumque per orbem
heroes12 magnosque viros numerabitur inter.
Hoc divum genus et sanguis tuus…
European Symbols
1. maneo 2 mansi: here: to expect,
to wait for; 2 progenies, -ei f.:
offspring;
3.
illustris,
-e:
illustrious, noble; 4. Lotharus, -i
m.: Lothar , founder of the
Lorraine dynasty; 5. expedio 4: to
explain; 6. paucis: scil. verbis; 7.
Iosephus, -i m.: Joseph, Maria
Theresia’s son, then archduke of
Austria, later Holy Roman
Emperor;
8.
negarunt
=
negaverunt; 9. Francisco Caesare
patre: “after his father Emperor
Francis I”; 10. stirps, -is f.: stock;
family or branch of a family; line
of descent; 11. avitus 3: “from his
grandfather”; 12. heros, -ois m.:
hero, refer to inter
3
Comments:
615sqq.: Gloria quanta tuos… :
Compare Aen. 6, 756ff.:
Nunc age, Dardaniam prolem quae deinde sequatur
gloria, qui maneant Itala de gente nepotes
inlustris animas nostrumque in nomen ituras,
expediam dictis
620sq.: hic puer, hic vir erit:
hic vir, hic est…
Augustus Caesar, divi genus
The House of Habsburg-Lorraine is the reincarnation of the Julian dynasty. The anaphoric hic puer, hic vir
transfers Virgil’s central panegyric for Augustus to Joseph.
Theres. 8, 631:
Joseph’s imperial virtues and idealised government show him as the reviver of the imperium Romanum,
which corresponds to Anchises’ prophesy of Rome’s mission in Virgil’s Aeneid.
631
…pacis servabit pacta fidemque
nec violare sinet; quae si quis laeserit, ille
1. benignus 3: kind, generous,
helpful
terribilem hunc bello aspiciet victusque benignum1
Comments:
631sqq.: … pacis servabit pacta fidemque:
Compare Aen. 6, 852: hae tibi erunt artes, pacisque imponere morem
parcere subiectis et debellare superbos
Just as Augustus is prefigured by his ancestor Aeneas in Virgil’s epic, the Theresias focuses on the future
emperor Joseph – the new Augustus – through his heroic mother Maria Theresia. Elisabeth Klecker suitably
adapts the late Virgil commentary by Servius, who wrote about Virgil’s intention: Homerum imitari et
Augustum laudare a parentibus, to the design of the author of the Theresias: Vergilium imitari et Josephum
laudare a matre Theresia.
In deliberate allusion to Virgil’s panegyric for Augustus the anonymous poet of the Theresias conveys the
concept of the “translatio imperii”, the “transfer of rule”. This idea represents an eschatological interpretation
of global history: the power of each supreme ruler is transferred to a subsequent ruler.
The concept’s origin rests in Hieronymus’ exegesis of the Book of Daniel, whose four kingdoms the Church
Father interpreted as Babylonia, Persia, Greece and the Roman Empire. The fall of the last empire will ring
in the end of the world. That is why medieval people desired to extend the last empire by proclaiming the
Holy Roman Empire. In the Middle Ages the concept of the “translatio imperii” only gradually gained wider
recognition through a retrospective interpretation of history: The imperium had been transferred to the
Church or rather the Byzantine Empire, then after Charles the Great’s coronation in 800 A.C. to the Franks
and via the East Frank emperors to the Holy Roman Emperors of the German Nation.
Moreover the doctrine of the “translatio imperii” served the purpose of legitimating many claims to the
throne by postulating the ultimate position in the Roman line of succession. In modern times the aspiring
great powers of Spain (16th century), France and England (17th century) and obviously also the House of
Habsburg saw themselves in the mirror of the “translatio imperii”.
Another remarkable idea in the philosophy of history is that supreme global power tends to move to the west
(ex oriente lux) and that the USA is the current Roman Empire (cf. the Capitol, the US claim to world rule
and its dedication as a bringer of world peace). Extending this idea it has already been predicted that there
will be a further shift of power to the west (China, India).
1. The Austrian War of Succession and the Seven Years' War triggered a much greater variety of epic
literature than both the Thirty Years’ War and the defeat of the Turkish siege of Vienna. What is
surprising about that and what is probably the reason?
2. In how far do the given text extracts from the Theresias compare with the corresponding passages from
Virgil’s Aeneid in terms of intention, perspective and setting?
European Symbols
4
Belgium: Panegyric for a Prince -Erasmus’ Joyous Entry into Political Culture
by Maarten Vermeir, Free University of Brussels
Desiderius Erasmus of Rotterdam, painted by Hans Holbein
Philip the Fair, painted by the Master of the Magdalena Legend
Desiderius Erasmus, Opera Omnia Des. Erasmi Roterodami, Tomus IV-1, O. Herding and F. Schalk, edd..,
North-Holland Publishing Company, 1974, Amsterdam, p. 64.
You are reading a fragment of Erasmus’ Panegyricus, one of the earliest political writings of this great
European thinker. This work was first printed in February 1504 by Dirk Martens in Antwerp as a revised
version of the oration spoken out in the ducal palace of Brussels on the feast of the Epiphany, one month
before. Erasmus orated there his Panegyricus as part of a welcoming ceremony, offered by the Estates of
Brabant to their sovereign: Philip the Fair, Duke of Burgundy and Ruler of the Burgundian Netherlands,
including the Duchy of Brabant from 1430. They arranged this ceremony to celebrate Philip’s return to
Brussels after a long stay in Spain, home country to his wife Joanna of Castile.
Itidem1 tu ne postulas quidem a tuis, ut tibi pareatur2, nisi
parueris ipse legibus neque protinus maiestatem lesam3
1. itidem: in the same way; 2. parere
+ dative: to obey;
3. maiestas laesa: lèse majesté;
existimas, si quis verbo refragetur4, quin gaudes magis
4. refragari: to resist;
admoneri religionis et iurisiurandi5, quo temet in suscipiendo
5. religionis et iusiurandi: this is an
instance of a so-called genitivus
criminis; 6. se obstringere: to bind
oneself;
7. purpura, -ae f.: the purple, i.e. high
dignity or office; 8. ista: refers to
‘purpura’; 9. te clam est + inf.: it is
unknown to you;
principatu obstrinxisti6. Non ignoras quantum oneris cum
purpura7 susceperis, eoque non ista8 ulla in re te facit
licentiorem, sed sollicitiorem in omnibus. Neque te clam est9
imperium haut vitae strepitu et colligendis vectigalibus
contineri, sed munus esse publicum sic administrandum, ut
si non aliis, certe tibi ipsi repetenti, certe deo repetundarum
10. repetundarum agere: to demand
European Symbols
5
acturo10 queas rationem reddere11; in summa hanc esse
propriam principis laudem, ut maximum esse sese quasi12
satisfaction; 11. rationem reddere:to
render account; 12. quasi: almost
nesciat, optimum vero esse oportere semper meminerit.
In 1502 Erasmus moved to Louvain, which like Brussels, Antwerp and ‘s-Hertogenbosch was a major city
in the Duchy of Brabant (now part of Belgium, except for the Dutch province of Northern Brabant),
intending to study there at the only University in the Low Countries at that time. But he found himself
among educated men who were also very familiar with political life in Brabant and the Netherlands. His
host in Louvain, Jean Desmarez or Paludanus, was a former courtier and now public orator at the
University. This man commissioned Erasmus to compose a Latin oration for Philip, resulting in the
Panegyricus that Erasmus eventually delivered on January 6 1504 in presence of the Estates of Brabant.
These Estates assembled deputies of the Clergy, the Nobility and the four ‘Capitals’, to speak for the people
of the Duchy and discuss with their prince or sovereign: the Duke of Brabant. Also for the Duke these
discussions were not completely free of obligations. The Dukes of Brabant were, from a legal perspective,
bound by their solemn oath on their ‘Joyous Entry’: the Brabantine constitution named so for the first time
in 1356. A ‘Joyous Entry’ was written, sealed and affirmed by oath at the beginning of every new regency.
With their solemn oath all Dukes of Brabant recognized their princely duty to serve the common interest
and the right of the people to replace a duke who has neglected this commitment. The trendsetting
constitutionalism of Brabant was often in conflict with political reality. The ‘Joyous Entries’ were the result
of a permanent struggle of the ‘the people’, represented by the Estates of Brabant.
To this oath and duty, Erasmus referred in addressing Philip: ‘You do not think it lèse-majesté if someone
questions you in word. Rather, you rejoice to be reminded of your obligation and of the oath by which you
bound yourself in accepting your principate (as Duke of Brabant).’ But Erasmus’ politically experienced
entourage found his Panegyricus too flattering. In their opinion he had praised the prince more than was
necessary: ‘Accompanied by a splendid procession of court nobles, you stood out by so far as the day-star
outshines the other lights of heaven, ...’ Erasmus explained his aim was not to flatter the prince but to
admonish him, under the appearance of flattery. The criticism of his friends in Brabant however affected our
Christian humanist and influenced probably the appreciation of his own work.
In a letter to his English friend John Colet, he admitted: ‘I was so reluctant to compose the Panegyricus that
I do not remember ever doing anything more unwillingly, for I saw that this kind of thing could not be
handled without some flattery.’ To Paludanus he wrote ten months before, in February 1504: ’At the same
time I have a considerable respect for the two remaining classes of my attackers; they consist of those who
naively and foolishly describe all this enthusiasm of mine for celebrating the prince as flattery, and those
who have a smattering of letters and seem to find some things objectionable, or rather perhaps a few things
missing, in a work which is virtually unfinished as yet. Of these two criticisms the first has hurt me rather
keenly because it seeks to cast an aspersion on my character; the other has less effect, because it assails only
my intelligence and does not stain my reputation as well. Consequently I have to appease the latter critics as
best I can, while the former must be answered more sharply.’
Eleven years later, Erasmus didn’t waste the perfect chance to do so. After the sudden death of Philip the
Fair in 1506 and a period of tutelage, his 15-year old son, the later Emperor Charles V, came into power as
Ruler of the Burgundian Netherlands in 1515. On this occasion, Erasmus wrote a less flattering mirror of
princes, his famous and widely spread political work Institutio Principis Christiani. This ‘Education of a
Christian Prince’ had to serve as a manual for the young Prince Charles and was commissioned by the
former chancellor of Brabant, Jean Le Sauvage, who ordered Erasmus also to write a third major political
work Querela Pacis or ‘the Complaint of Peace’. The first edition of the Institutio Principis Christiani was
published in May 1516 by Froben in Basel, a second one three months later by his old friend Dirk Martens,
who now had moved to Louvain. Erasmus used a revised version, assimilated to the Institutio, of his older
Panegyricus as introduction to his new book. So the Prince of Humanists could now finally legitimise his
first political work. It seemed to be the indispensable stepping stone towards new heights of political theory.
In fragments of his Institutio Principis Christiani, like the following, you can read a panegyric, not for a
prince but for a political culture he became very familiar with, and for friends who paid honour to him with
their honesty and their true criticism.
European Symbols
6
Desiderius Erasmus, Opera Omnia Des. Erasmi Roterodami, Tomus IV-1, O. Herding and F. Schalk, edd..,
North-Holland Publishing Company, 1974, Amsterdam, p. 136.
In nauigatione non ei committitur clauus1, qui natalibus2 aut
1. clavus, i m.: helm; 2. natales, -ium
m.: birth, origin, lineage;
opibus aut forma caeteris antecellit, sed qui peritia
gubernandi, qui vigilantia3, qui fide superat. Ita regnum ei
3. vigilantia, -ae f.: being alert;
potissimum est committendum, qui regiis dotibus anteit
reliquos, nempe sapientia iusticia animi moderatione
prouidentia studio commodi publici4. Imagines aurum
gemmae
nihilo
plus
habent
momenti
ad
4. studium commodi publici: concern
for the public well-being;
ciuitatis
administrationem quam eadem nauclero conductura5 sint ad
5. conducere, -o: to be important to;
nauim gubernandam. Quod unum oportet spectare principem
in administrando, id unum oportet spectare populum in
principe deligendo, nimirum6 publicam commoditatem
6. nimirum adv.: surely, truly;
procul ablegatis7 priuatis affectibus.
7. ablegare:
Picture of the town hall of Brussels, build in the 15th century
to remove
Painting of the ducal palace of Brussels, destroyed by fire in
1731
1. Which four cities were the capitals of Brabant?
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7
2. Why is the ‘Joyous Entry’ called the ‘Joyous Entry’?
3. Where in Brussels can you find rests of the old ducal Palace?
(search on internet: via Google ‘Palace of Brussels + Charles V’)
4. What was the name of this Palace?
(search on internet)
5. Did Erasmus think he had flattered Philip too much?
6. Who were the parents of prince Charles, the later emperor Charles V?
7. What was the nick-name of Joanna of Castile?
(search on internet)
8. In which European Countries can you find provinces named after the old Duchy of Brabant? (search in
text and on internet)
9. What is the difference in territory between the Low Countries (or the Netherlands) at the beginning of
the 16th century and the Netherlands nowadays?
Sources
Secondary Literature
James D. Tracy, The Politics of Erasmus: a Pacifist Intellectual and His Political Milieu, University of
Toronto Press, 1978, Toronto Buffalo London, p. 17-22
James D. Tracy, Erasmus: the Growth of a Mind, Librairie Droz, 1972, Genève, p. 88-89
Primary Sources
- Latin edition fragments Panegyricus and Institutio Principis Christiani
- Desiderius Erasmus, Opera Omnia Des. Erasmi Roterodami, Tomus IV-1, O. Herding and F. Schalk,
edd.., North-Holland Publishing Company, 1974, Amsterdam, p. 64 and 136
Translation fragments Panegyricus and Institutio Principis Christiani
- Desiderius Erasmus, collected works of Erasmus, vol. 27, University of Toronto Press, 1974-1988,
Toronto Buffalo London, p. 44 and 206
Latin edition Letters
- Desiderius Erasmus, Opus epistolarum Des. Erasmi Roterodami, in Percy S. Allen, Helen M. Allen and
Heathcote W. Garrod, edd. ., 1906-1958, Oxford, to (Jean Desmarais) Iohannes Paludanus vol. I, nr.
180, p. 399, l. 29-38 ; to John Colet vol I, nr. 181 p. 405, l. 54-56.
Translation letters
- Desiderius Erasmus, collected works of Erasmus, vol. 2, University of Toronto Press, 1974-1988,
Toronto Buffalo London, p. 80, 81 and 87
I want to thank the Latin and History Filiations of the ‘Vrije Universiteit Brussel’, specially professors Hugo
Soly, Rudolf De Smet and Christian Laes. Their expertise on Erasmus and the History of Northern
Renaissance opened a wide horizon of intellectual and personal wisdom to me. I will benefit from their
challenging education for the rest of my life.
European Symbols
8
Croatia: Marko Marulić – the Father of Croatian Literature
by Sime Demo, Croatia
After nearly 1000 years of Middle Ages, during which the highest achievements of Classical culture had
been almost forgotten, during the 14th and 15th century the Europeans started to rediscover the works of
ancient authors. They became aware that the human mind could create the works of immeasurable value and
be active in shaping the world. The medieval conception, according to which the God governs the world
autonomously without human taking part in the process, was replaced with a new image, in which the man
is the very subject who can give form to the reality around himself. That is why this cultural movement has
been named humanism (lat. humanus "human, worthy of man").
Many humanists were devoted believers, who followed the word of Bible and the Magisterium, but also
searched for inspiration in wise thoughts of ancient writers and glorious events from ancient history and
mythology. Having believed in the predominance of Christian belief over paganism, but also having
accepted the language and stylistic refinement of Classical antiquity, through their works they made a
bridge between the Medieval and Modern Europe.
The greatest Croatian humanist was Marko Marulić (Marcus Marulus, 1450-1524) who wrote in Latin,
Croatian and Italian language, and because of the importance of his works in Croatian language, he has been
called the "father of Croatian literature" and "Croatian Dante".As
opposed to the large majority of Croatian humanists, who were
working in Italy, Marulić spent almost whole his life in his native
town Split, which emerged as a Greek colony Aspálathos, and its
today's center was built by Diocletian, who made his magnificent
palace there.
Like other humanists, Marko Marulić had diverse interests. He
carried on research in the field of history, translated from foreign
languages, wrote mythological short poems and theological learned
essays, satire and panegyric poems, biblical epics and letters to
contemporaries. The duality of the position in which the intellectuals
of his time were found in the southern Europe could be observed
through his personality: On the one hand, the supreme authority of
source:
the Church determined their attitude towards religious themes, and
www.nsk.hr/HeritageDetails.aspx?id=144
on the other, newly discovered ancient writers called them to reach
[24.7.2009]
for immense treasure of pagan world.
An Archaeologist: Dedicatio ad Dominicum Papalem, from: "Inscriptiones Latinae antiquae Salonis repertae
a Marco Marulo Spalatensi collectae et illustratae", (a fragment of: In epigrammata priscorum
commentarius), curavit S. Ljubić in: Rad JAZU, Zagreb (1876), book 36, 37, pp. 83-102.
Aspiring, like other humanists, to establish as firm as possible connections with the ancient civilization,
Marulić was lucky to live in the region where Romans had been governing the province Illyricum for
centuries, in which they had left numerous traces of their culture. Moreover, the emperor Diocletian, an
Illyrian himself, built his residence in Illyricum.
Marulić found, together with his friend Dominik Papalić, numerous inscriptions in stone in the vicinity of
his native town, specifically in the ruins of Salona, in old days an important ancient town, which he listed
and translated for the same friend. These discoveries induced him to recall wistfully of glorious past of that
city in his introductory text.
1
Dominice Papalis carissime, nunc maiorum nostrorum
aperiemus1 monumenta, quae saepe tecum per
Salonarum rudera2 parietinas3que vagatus passim4
iacentia spectavi5, et interdum6 patrii7 soli8 nostri
5
quanta quondam9 gloria fuit mecum revolvens10
Vergilianum11 illud repetebam12:
European Symbols
1. aperio, 4. rui, rtum: to open, to
recount; 2. rudus, deris, n.: a piece of
stone or grass; 3. parietinae, arum,
f.: old walls, ruins; 4. passim: adv.
here and there, everywhere; 5. specto,
1: to observe, to look at; 6. interdum:
adv. sometimes, now and then; 7.
patrius, 3:
father's, ancestral; 8.
solum, -i, n.: ground, soil; patrii soli
nostri: attribute of gloria (extracted
from the dependent clause) 9.
quondam: adv. once; 10. revolvo, 3.
9
"Fuimus
Troës,
fuit
Ilium et
ingens13 gloria
Teucrorum!"
Qualis enim quantave urbs ista exstiterit14, quae a
10 Gothis solo8 aequata15 esse desiit, non modo
reliquiae16 eius testantur17, verum18 et veteris historiae
scriptorum indicat19 auctoritas20. Nam et Strabo in suo
Geographiae libro Dalmatarum emporium21 Salonas
esse asserit22 ac de ipsis Dalmatis: "Ea gens", inquit,
15 "annos complures23 adversus Romanos bella gessit."
Plinius quoque Secundus ait: "Salona, colonia24 ab
Iadra C millia pass25. Petunt26 in ea iura iuribus
descriptis27 in decurias28 CCCLXII Dalmatae", quos
ibi nominatim29 recenset30… Praeter haec31, in
20 Caesaris Commentariis relatum legimus quod32 M.
Octavius cum navibus Salonas pervenerit33, ubi
concitatis34 Dalmatis reliquisque barbaris Issam a
Caesaris
amicitia
avertit35
conventum36que
Salonensem37 quum38 neque pollicitationibus39 neque
25 denunciatione40
periculi
promovere41
posset,
oppugnare instituit. "Est autem oppidum", inquit, "et
loci natura et colle42 munitum43." …
Huc accedit44, quod Diocletianus Imperator, Salonis
natus, virtute rebusque gestis45 ad Romanorum
30 Imperium meruit46 promoveri41. Deposito deinde
Imperio privatam vitam peregit47 in patria; et quum48
Romam ad pristinam49 dignitatem revocaretur50,
maluit hic consenescere51 privatus, quam52 Romā
imperare – usque adeo53 ceperat eum amoenitas54 loci
35 et tranquillum55 in secessu ovium56.
Exstat57 aedificium eius Salonis proximum58, quod
maiores nostri post urbis eversionem59 incolere
coeperunt: nunc nostrum natale solum8 est, quod
vi, utum:
to consider;
11.
Vergilianus,
3:
Vergilian;
Vergilianum illud: sc. proverbium
12. repeto, 3. tivi, titum: to repeat;
13. ingens, ntis: adi. huge, enormous;
14. exsisto, 3. stiti: to be, to exist; 15.
aequo, 1: to make even, solo aequo to
level with the ground; 16. reliquiae,
arum, f. : remains, remnants; 17.
testor, 1: to testify, to bear witness;
18. non modo … verum et: conict.
not only … but also; 19. indico, 1: to
show, to indicate; 20. auctoritas,
tatis, f.: authority, reputation; 21.
emporium, ii, n.: a market town; 22.
assero, 3 rui, rtum: to state, to claim;
23. complures, ium: adi. many, a fair
number; 24. colonia, ae, f.: a colony;
25. pass. : abbr. passus, us, m.: a
step, a pace; 26. peto, 3 tivi, titum: to
attack, to ask for, to reach towards,
peto iura in+Ab. to have a place as an
administrative center; 27. decuria, ae,
f.: a division; 28. describo, 3 scripsi,
scriptum: to write down, to establish
29. nominatim: adv. by name; 30.
recenseo, 2. ui, itum: to enumerate, to
count; 31. Praeter haec: apart from
that; 32. quod: conict. that; 33.
pervenio, 4. veni, ventum: to reach,
to arrive; 34. concito, 1: to rouse up,
to incite; 35. averto, 3 verti, versum:
to turn away from; 36. conventus, us,
m.: an agreement, an assembly; 37.
Salonensis, e: of Salona; 38. quum:
cum (here: causale); 39. pollicitatio,
ionis, f.: a promise; 40. denuntiatio,
ionis, f.: an announcement, a threat;
41. promoveo, 2 movi, motum to
cause to advance, to move forward;
42. collis, -is, m. : a hill; 43. munio, 4:
to fortify, to protect, to defend;
44. accedo, 3 cessi, cessum: to
approach, huc accedit, quod add to
this, that;
45. res gestae, rerum gestarum, f.:
deeds, affairs;
46. mereo, 2 ui, itum: to deserve, to
merit;
47. perago, 3 egi, actum: to carry
through to the end; 48. quum: cum
(here: historicum); 49. pristinus, 3:
ancient, initial;
50. revoco, 1: to call back, to recall;
51. consenesco, 3 senui: to grow old;
52. quam: than (comparative); 53.
usque adeo: adv. in such a manner;
54. amoenitas, atis, f.: enchantment;
55. tranquillum, i, n.: a calm state;
56. ovis, is, f.: a sheep; 57. exsto, 1:
to be, to exist; 58. proximus, 3:
former, oldtime; 59. eversio, ionis, f.:
a destruction, an overturning;
Spalatum appellant.
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10
Comments:
1 Dominicus Papalis (Dmine Papalić),
Marulić's friend, with whom he explored
ancient inscriptions from Salona, and to
whom Marulić dedicated his work on the
inscriptions.
3 Salonae, -arum, f., ancient port in Dalmatia
and the birthplace of Emperor Diocletian,
today Solin near Split.
7 Vergilius, Aeneis II.325-326
Fuimus Troës, fuit Ilium et ingens
gloria Teucrorum!
Troy is past, Ilium is past, and the great
glory of the Trojans! (translated by A. S. Kline)
10 Gothi, -orum, m., Goths, a Germanic people
Diocletian's Palace in Split (source
that prevailed in Italy after the Romans.
http://www.croatianculture.info/pics/11_diocletians_palace.jpg , [24.7.2009]
12 Strabo, Geographia VII.5
Then comes the seaboard of the Dalmatians, and also their sea-port, Salo. This tribe is one of those which
carried on war against the Romans for a long time. (translated by H. L. Jones)
16 Pliny the Elder, Naturalis historia II.22
Salona colonia ab Iader CXII. Petunt in eam iura viribus discriptis in decurias CCCXLII Delmatae.
The colony of Salona, 112 miles from Iader. Salona is the centre for jurisdiction of the Delmataei, divided in
342 decuriae. (translated by H. Rackham)
17 Iadra, -ae, f., Jader, ancient city in Dalmatia, today Zadar.
20 Caesar, Commentarii de bello civili III.9.1
Discessu Liburnarum ex Illyrico M. Octavius cum eis, quas habebat, navibus Salonas pervenit. Ibi
concitatis Dalmatis reliquisque barbaris Issam a Caesaris amicitia avertit; conventum Salonis cum neque
pollicitationibus neque denuntiatione periculi permovere posset, oppidum oppugnare instituit. Est autem
oppidum et loci natura et colle munitum.
But after the departure of the Liburnian fleet, Marcus Octavius sailed from Illyricum with what ships he had
to Salona; and having spirited up the Dalmatians, and other barbarous nations, he drew Issa off from its
connection with Caesar; but not being able to prevail with the council of Salona, either by promises or
menaces, he resolved to storm the town. But it was well fortified by its natural situation, and a hill.
(translated by. W. A. Macdevitt)
27 Diocletianus, -i, m., Diocletian, Roman Emperor (reigned 284-305), born in Salona.
39 Spalatum, -i, n., Spalatum, a city in Dalmatia, today Split.
1. Compare the original extracts from ancient works and Marulić’s quotations. Did Marulić stick to
original text? Did he always quote or he sometimes also adapted the text?
2. In what kind of situation were Aeneas and his fellows when they uttered the quoted Virgil's verses?
Why did they use perfect forms fuimus, fuit? Why did Marulić quote those verses?
3. Which circumstances were there at the arrival of Romans to Illyricum (see Strabon, Caesar), and which
during the reign of Diocletian (350 year after Caesar)? Who were the invaders, and who defenders in the
first period, and who in the second? What kind of conclusion can you draw from it?
4. Find the place in the text which describes Salona as a place pleasant for living.
A Christian Humanist: Marci Maruli Davidias, curavit V. Gortan, Zagreb 1974. (I, 1-11)
In his large-scale epic poem Davidias Marulić celebrated the life of Old Testament king David. However,
although he dealt with a Christian theme, he used an ancient verse – hexameter, and very often ancient
imagery and names as well. Hence this Marulić’s work too shows that the contemporary poets were inspired
European Symbols
11
simultaneously with both ancient civilization tradition and Christianity, which was predominant in Europe
during the entire Middle Ages.
For instance, Marulić, like ancient epic poets, used the so-called invocation, in which a deity is invoked to
help the poet at his work. However, he proclaimed that a Christian poet was not allowed to invoke the
Olympic gods as it had been done by his pagan predecessors.
1
Davidis memorare pii1 gesta2 inclyta3 regis
Instituo. Quis nunc dignas in carmina4 uires
Suppeditet5? Non Cyrrheae6 de uertice7 rupis8
Descendens9 lauro10que caput praecinctus11 Apollo,
5
Non Nysae numen12, furiata13 mente14 Lyaeus,
Pieridumque chorus15. Nam non ego dicere16 Troiae
Excidium17 Thebasve paro16 nec sparsa18 cruore19
Thessala20 Romano bellis civilibus21 arva22,
Sed caelo cognatum23 opus arcanis24que sacratum
10 Mysteriis25. Quorum26 qui solus crederis auctor,
Solus, magne Deus, mihi iam cantanda27 ministres28.
1. pius, 3: faithful, righteous, pious, godly;
2. gestum, i, n.: deeds, exploits; 3. inclytus,
3: famous, glorious; 4. in carmina: for the
poem; 5. suppedito, 1: to supply; 6.
Cyrrhaeus, 3: Cyrrhaean; 7. vertex, ticis,
n.: a top, a peak; 8. rupes, is, f.: a cliff, a
rock; 9. descendo, 3 scendi, scensum: to
descend, to go down; 10. laurus, i, f.: laurel,
laurel crown;)11. praecingo, 3 cinxi,
cinctum: to gird; caput praecinctus: with
head wreathed (Greek acc. of. respect 12.
numen, minis, n.: a divinity, a god; 13.
furiatus, 3 mad; 14. furiata mente: insane;
15. chorus, i, m.: a multitude, a chorus; 16.
paro, 1: to prepare, to plan; non dicere
paro: I don't plan to write about; 17.
excidium, ii, n. destruction, an overthrow;
18. spargo, 3 sparsi, sparsum: to sprinkle;
19. cruor, oris, m.: blood; 20. Thessalus, 3:
Thessalian; 21. bellis civilibus: temporal
abl.; 22. arvum, i, n.: land; 23. cognatus, 3:
kindred; 24. arcanus, 3: secret, hidden; 25.
mysterium, ii, n.: a divine mystery; 26.
Quorum: translate with a demonstrative
pronoum; 27. cantanda: things that i should
sing about;28. ministro, 1: to furnish, to
supply; ministres: subjunctive used as an
imperative;
Comments:
3 Cyrrhea rupes, Cyrrhean cliff is a name for the Delphian
oracle, because Cyrrha was its seaport.
5 Nysae numen, Dionysus, who was born in the mythical
land Nysa.
Lyaeus, one of Dionysus' names.
6 Pierides, one of Muses' names, because they live at the
Mount Pierus.
7 Troiae excidium, Trojan war.
Thebae, referes to the mythical warfare of the Seven
against Thebes.
8 Thessala arva, decisive battle of the Civil War between
Caesar and Pompey was at Pharsalus in Thessaly.
1. Which deities does Marulić NOT invoke, and which
does he invoke?
2. Marulić introduces the grounds for his decision with the
word nam. Which are these grounds?
3. Which ancient hero had the epithet pius, like David
here? Consequently, which epic poet did Marulić read
for sure? Why exactly him?
European Symbols
Marulić’s handwriting (photo: Sime Demo)
12
GERMANY: Melanchthon, the Teacher of Germany
“Combine Greek and Latin literature!”
by Helmut Meissner
Philipp Melanchthon (1497-1560) has a special position among the great humanists of the 16th century: Like
no other humanist, he embodies the classic ideal of linking intellectual education and practical work for the
common welfare. Above all, Melanchthon dedicated his organisational and political activities to two
concerns: the restructuring of the educational system in Germany and the reformation of the church.
In the restructuring of the school and higher education system in Germany, he rendered such meaningful
service that he was called Praeceptor Germaniae (the Teacher of Germany).
He was later involved in founding the universities of Marburg (1527) and Königsberg (1544). As vice
chancellor of the Witten-berg University (1523/24), he established new
study regulations and reorganised the university administration in order to
better support the intellectual progress of the students. He later participated in the reformation of the universities of Tubingen (1535), Leipzig
(1539), Frankfurt on Oder (1540) and Heidelberg (1557).
He founded Latin schools in various cities such as Eisleben, Magdeburg,
Goslar, Lüneburg and Nuremberg. He promoted the natural sciences and
introduced the school subject of geography. He formulated principles for
ensuring the quality of school work.
Philipp Melanchthon‘s name is now less famous for his work in the area
of education policy than for his other main concern: Martin Luther’s
Reformation. Melanchthon was the closest collaborator of the reformer.
He was the person who encouraged Luther to translate the Bible, a work
that Luther already began in 1521/1522 at Wartburg in Thuringia. Since
Melanchthon was one of the best Greek scholars of his era, Luther used
his scholarly advice while translating.
Portait of Philipp Melanchthon,
by Lucas Cranach the Elder (1543)
source: http://commons.wikimedia.
org/wiki/File:PhilippMelanchthon.jpg,
PD, [31.7.2011]
At the Imperial Diet of Augsburg (1530),
Melanchthon advocated the cause of the Reformation. In order to reach an
agreement between Luther’s supporters and those of the Pope he presented
a paper, the so-called Augsburg Confession, in which he had formulated
the Lutheran principles in a mild, conciliatory tone. His efforts failed. But
the Augsburg Confession (Confessio Augustana) is still binding for
Lutheran ministers.
After the death of Luther (1546), Melanchthon became the leader of the
Reformation during the last fourteen years of his life.
Melanchthon was born in Bretten (in the modern state of BadenWuerttemberg) in 1497. His name was originally Philipp Schwartzerdt.
Portait of Martin Luther,
When he was 11 years old, both his father and his grandfather died within a
by Lucas Cranach the Elder (1529)
few weeks. He moved from Bretten to Pforzheim, a distance of about 20
source:
http://commons.wikimedia.org/
kilometres. This is where he met the humanist Johannes Reuchlin (1455wiki/File:Martin_Luther_by_
1522), who became aware of the boy’s extraordinary intellectual talent. As
Lucas_Cranach_der_%C3%84
a sign of his acknowledgement, Reuchlin gave the twelve-year-old a
ltere.jpeg,PD, [31.7.2011]
valuable Greek grammar book with a Latin dedication in which he
translated the name Schwartzerdt into Greek: Melanchthon (melan- for the German word “schwarz”,
meaning “black”, and -chthon for the German word “Erde”, meaning “earth”: Schwarz-erd < Schwartzerdt).
Melanchthon was only12 years old when he began his studies at the University of Heidelberg. At the age of
15 he acquired the Baccalaureus artium degree. When he was 15, he changed to the University of Tubingen
and passed the exam for the Master’s degree at the age of 16. Thereafter, he dedicated himself to teaching
and wrote his first important works.
Melanchthon had a critical attitude towards the university teaching programmes of that era. His concept for
reforming academic studies and teaching already matured when he was not yet 20 years old. He considered
European Symbols
13
the intellectual standards at the universities of that time to be unsatisfactory. He was convinced that it was indispensible to have suitable
preliminary studies to sharpen one’s discernment in order for the
studies to be successful. Melanchthon believed that anyone who
wanted to study the basic theological questions without first learning
about grammar, logic and the ancient languages was in danger of
zealotry. Pietas and Eruditio (faith and education) were an inalienable
unit for him. Like Erasmus, Melanchthon also advocated a reinstitution
of the original Christianity through a return to the sources (ad fontes).
At the early age of 21, Melanchthon was appointed to the University of Johannes Reuchlin
Wittenberg and assumed the chair in Greek there. A few days after his
source: http://en.wikipedia.org/wiki/File:
Johannes_Reuchlin.JPG, PD, [31.7.2011]
arrival, he held his famous inaugural speech on 28 August 1518, De
corrigendis adolescentiae studiis, in which he described his concept for education. The following text is an
excerpt from this speech (Corpus Reformatorum 11, 22-23):
Fontes artium haurire
1
1
2
Fontes ipsos artium ex optimis auctoribus hauritis.
Hic3 nativum4 ac sincerum5 Aristotelem, ille3
Quintilianum rhétorem, hic3 Plinium – tantum non6
ditissimum7 paedeiae8, ac veluti quoddam copiae
5
cornu9 – , ille3 argutias,10 sed arte temperatas11 docet.
Accedunt sine quibus nemo potest eruditus12 censeri,
mathematica, item poëmata,13 oratores, professoribus
non proletariis.14 – Haec si cognoveritis quo ordine
tractanda sint, certo scio,15 et facilia, et admirandi
10 profectus16 videbuntur.
1. artes, ium f sciences; 2. haurire,
haurio, hausi, haustum to draw
(water.; 3. hic … ille … hic … ille
one … the next … yet another … still
another; 4. natívus,a,um born,
original; 5. sincérus,a,um genuine;
6. tantum non almost; 7. ditssimum
= divitissimum; 8. paedeia
education; 9. copiae cornu
cornucopia; 10. argutiae, arum f
expressive presentation;
11. arte temperatus artfully
moderate; 12. erudítus,a,um
educated; 13. poëma, tis n poem;
plural: poetry;
14. proletarius,a,um inferior, of
inferior quality;
15. certo scire to be sure
16. profectus, us m progress
Quasi viaticum comparare
Puerilia17 studia quae appellant προγυμνάσματα18
– grammatica, dialectica, rhetorica19 – eatenus20
discenda sunt, qua ad dicendum ac iudicandum
instructus, fastigia21 studiorum non temere22
15 affectes.23
17. puerílis,e boyish, meant for
boyhood; 18. progymnasmata
(Greek. preliminary exercises;
19. „grammar, dialectics, rhetoric“;
20. eátenus … qua to an extent that;
21. fastigium, i n summit;
22. témere haphazardly;
23. affectare to seek to reach;
Iungendae Graecae litterae Latinis, ut philosophos,
24
theologos, historicos, oratores, poetas lecturus,
quaqua25 te vortas,26 rem ipsam assequare,27 non
umbram rerum, velut Ixion cum Iunone
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24. „when reading the works of
philosophers, theologians, orators and
poets“; 25. quaqua wherever;
26. vortas = vertas
27. assequare = assequaris
28. cóngredi, ior, gressus sum to
14
20 congressurus28 in nubem29 incidit.30
meet; 29. nubes, is f cloud;
30. incídere, íncido, íncidi to get
into;
Philosophiam accedere
Hoc quasi viatico31 comparato, per compendia καὶ 32
εὐπετῶς,
ut Plato ait, philosophiam accede.
Nam in ea sum plane33 sententia, ut qui velit insigne
aliquid, vel in sacris vel foro,34 conari, parum35
25 effecturum, ni animum antea humanis disciplinis36
31. viáticum, i n travelling-money;
32. per compendia kaì eupetõs
„straightforwardly ‚and blithely’“;
33. plane plainly; 34. vel in sacris vel
foro „in either the church or the
state“; 35. parum to little;
36. humanae disciplinae „the
general educational subjects“;
(sic enim philosophiam voco prudenter et quantum
satis est, exercuerit.
Nolo autem philosophando37 quemquam nugari,38 ita
enim fit, ut communis etiam sensus39 tandem
30 obliviscare. Sed ex optimis40 optima selige41, eaque42
cum ad scientiam naturae, tum ad mores formandos43
attinentia44.
In primis45 hic eruditione46 Graeca opus est, quae
naturae scientiam universam complectitur.47 Ut de
35 moribus apposite48 ac copiose49 dicere queas50,
plurimum valent Aristotelis Moralia,51 Leges
Platonis, poetae, atque ii sane, qui et optimi sunt, et
in hoc legi possunt, ut animos erudiant.52 Homerus
53
Graecis fons omnium disciplinarum, Vergilius ac
37. philosophari philosophize;
38. nugari to trifle; 39. communis
sensus (acc.plur.. common sense;
40. ex optimis scil. auctoribus;
41. selígere, séligo, selégi, selectum
to select; 42. isque, eaque, idque and
that; 43. ad mores formandos „to
moral education“; 44. áttinens, ntis
relating to;
45. in primis above all;
46. eruditio, onis f erudition;
47. complecti, complector,
complexus sum to comprise;
48. appósite appropriately, properly;
49. copiose copiously; 50. queo,
quivi to be able; 51. Moralia Ethical
works;
52. erudire, io, ívi, ítum to educate;
53. disciplína, ae f discipline,
science;
40 Horatius Latinis.
Historia
Necessaria est omnino ad hanc rem historia,54 cui, si
ausim,55 me hercle56 non invitus uni contulero,
quidquid emeretur57 laudum universus artium1 orbis.
Haec quid sit pulchrum, quid turpe, quid utile, quid
45 non, plenius ac melius Chrysippo et Crantore58 dicit.
Hac nulla vitae pars, neque publica, neque privata
vacare potest. Huic administratio rerum urbanarum59
domesticarumque60 debet.61
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54. história, ae f historiography,
history;
55. si ausim „if I may dare“;
56. me hercle by Hercules, indeed;
57. emeréri, eméreor, eméritus sum
to deserve;
58. Chrysippus, Crantor Greek
philosophers;
59. urbanus,a,um belonging to the
city, city-; 60. domesticus,a,um
belonging to the house, domestic;
61. debere, débeo, ui, itum to be
indebted to, to depend on
15
Lines 1-10:
1. Melanchthon mentions three authors whom he reckons among the best. Who are they?
2. According to Melanchthon, the students should observe a certain order when approaching the different
subjects of study. Why should they do so?
Lines 11-20:
3. According to Melanchthon, for young students the primary subjects of study should be grammar,
dialectics and rhetoric. What is the objective of these so called progymnasmata?
4. Melanchthon recommends the combination of Latin and Greek literature. What would, according to
Melanchthon, happen if scholars studied without being able to read original Greek literature?
Lines 21-48
5. Whoever wants to undertake something significant in either the church or the state, needs, according to
Melanchthon, preparation which is provided by a special kind of studies. What kind of studies does he
mean?
6. According to Melanchthon, philosophy comprises two parts. Which parts?
7. In medieval times historiography did not belong to the curriculum. Melanchthon recommends the
introduction of historiography as a new subject of study. What are his arguments in favour of this
subject?
Sources:
-
Richard Nürnberger (Ed.): Melanchthons Werke. Band III. Gütersloh 1961
-
Martin H. Jung: Philipp Melanchthon und seine Zeit. Göttingen 2010
-
Hans-Rüdiger Schwab: Philipp Melanchthon. Der Lehrer Deutschlands. Ein biographisches Lesebuch.
München 1997
-
Michael Beyer, Stefan Rhein, Günther Wartenberg: Melanchthon deutsch. Band I. Leipzig 1997
Uwe Birnstein: Der Humanist. Was Philipp Melanchthon Europa lehrte. Wichern, Berlin 2010
Martin Greschat: Philipp Melanchthon, Theologe, Pädagoge und Humanist. Gütersloh 2010
Horst Jesse: Leben und Wirken des Philipp Melanchthon. Dr. Martin Luthers theologischer
Weggefährte. München 2005
Günther R. Schmidt: Philippus Melanchthon (1497–1560). In: Henning Schröer, Dietrich Zilleßen
(Ed.): Klassiker der Religionspädagogik. Frankfurt/M. 1989
Heike Schmoll: Gelehrter und Lehrer. In: Frankfurter Allgemeine Zeitung of April 17th, 2010
Josef Dolch: Lehrplan des Abendlandes. Darmstadt 1982
Heinrich August Winkler: Geschichte des Westens. München 2009
www. Melanchthon.de/leben, March 21st, 2011
de.wikipedia.org/wiki/Martin_Luther, March 22nd, 2011
en.wikipedia.org/wiki/Johann_Reuchlin, March 23rd, 2011
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GREECE: The journey to Ithaca: Cavafy’s readings of the human soul
by A. Makrinos
Where Homer decided to halt and put a full stop, it is difficult
and dangerous for anyone else to wish to continue. But it is in the
difficult and dangerous tasks that great craftsmen are successful.
C. P. Cavafy on Ithaca.
Constantine Petrou Cavafy was born into a rich Greek family on 29
April 1863 in Alexandria, a city with high numbers of Greek population
at the time. Cavafy’s parents originated from Constantinople (modern
Istanbul) and moved to Alexandria in 1855. Cavafy was the ninth and
last child. In 1870, his father died and two years later, Cavafy moved
together with his family to England where he was educated and learnt
excellent English. After five years in Liverpool and London, in 1878 he
returned to Alexandria and finished his studies in the famous Greek
college “Hermes”. In 1882, because of the explosive political condition
in Egypt, Cavafy’s family moved to Constantinople. However, three
years later they returned permanently to Alexandria.
The poet lived all his life in Alexandria apart from short trips in 1897 to source:
Paris and London and four visits to Greece (1901, 1903, 1905, 1932). In http://upload.wikimedia.org/wikipedia/
commons/e/ec/Cavafy1900-portrait.jpg, PD,
1892 because of financial problems Cavafy was forced to take a job in [31.7.2011]
the Egyptian Government’s Irrigation Office where he was employed for
more than 30 years.
His life in Alexandria was monotonous and lonely. Initially he stayed with one of his brothers but later on
he lived alone. In the last years of his life he enjoyed the appreciation of his Alexandrian friends but overall
he preferred loneliness and isolation. He never studied in a university but his personal studies (mainly of
History) enabled him to acquire deep knowledge of French and English literature. He spoke English, French
and Italian. His acquaintance with the cosmopolitan centres of his time (London, Constantinople,
Alexandria) equipped him with significant life experience. In the summer of 1932, he was diagnosed with
larynx cancer and he then visited Athens in order to be treated; although he stayed in Greece for four
months, his condition worsened and finally he died in a hospital of Alexandria on his birthday, 29 April
1933.
Cavafy was an eccentric, strange and difficult character. Throughout his life he remained eclectic and
ascetic as he struggled to reconcile with his sensuous eroticism and his homosexuality. He frequently felt
tormented by the guilt of a conservative and hostile society which was incapable to accept his eroticism and
a Christian religious background which was not compatible with his passions. Loneliness and isolation were
the main features of his everyday life and they are transformed into melancholic pessimism and sometimes
desperation in his poetry. Cavafy felt that he had to preserve his humanity by resisting whatever causes the
moral decline of the human being and by preserving his heroic dignity against failure and death.
He is often characterised as the “poet of the old age” because he has produced his masterpieces and acquired
his distinct poetic features after he has reached the age of maturity. He was not born a poet, he became one.
He managed to find his poetic voice after 1911 and he printed his poems in
a few copies which he offered only a few friends without ever publishing
them in a collection. The complete works of Cavafy (154 poems in total)
were published for the first time in 1935 under the title Poems; later on an
edition of his repudiated, hidden and unfinished poems has also been
prepared. Cavafy is a dramatic poet who summarises in his 280 poems the
anxiety of the human soul when faced with the greatest obstacles of life:
loneliness, isolation, sorrow, despair, danger, corruption, destruction of
love, vanity, old age and death. His poetry is centred on the human being.
His protagonists do not bleed and are not crashed by the difficulties but
preserve their dignity and bravery and face failure with courage.
Whilst producing poetry, Cavafy wrote a lot but published little. Although
he is influenced by romanticism and symbolism (especially in his early
Greek stamp with Cavafy (1983)
poems), his writing is original and possesses classical quality. His verse is
source: http://cavafis.compupress.gr/
free, iambic without rhyming; his language is the demotic Greek of the
cavafy54.htm, [31.7.2011]
people of Alexandria with colloquialisms. His style is prose, with clarity of
expression and precision and without complicated decorative elements (adjectives or figures of speech).
Other features of his poetry are his irony, his didactic and reflexive tone, the building of dramatic
1
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17
atmosphere, the use of symbols and the theatricality of his settings. Most of his themes are taken from the
Greek historical past (especially from the Hellenistic and Roman periods but also from Ancient Greece and
Byzantium) and the real world (a part of these experiences originate from his homosexuality). His
protagonists are either real or fictional and the unknown details of their lives stimulate Cavafy’s poetic
imagination.
His inspiration is triggered by the world of memories; Cavafy usually takes from the “drawers” of his mind
an image or a set of memories and transforms them into a poetic idea. He has divided his poems into
historical, allegorical (philosophical) and erotic but this categorisation is conventional; most of the poems
belong to several of those categories.
Cavafy’s work was initially received in Greece with scepticism. There have been many reactions and strong
criticism by established intellectuals such as Psycharis1 or Palamas2 because his poetry opposed the
conventional poetic rules in Athens at the time and the movement of demoticism.3 Cavafy became known in
Greece because of Gr. Xenopoulos4 who praised him in an article in the magazine Panathinaia. Since then,
modern Greek poets, musicians and other artists have been influenced by Cavafy’s poetry and refer to him
as their teacher. He is considered to be one of the most important Modern Greek poets with international
recognition and his work has been translated in more than 200 languages all over the world.
Ithaca was written in 1911 and was published in the Alexandrian magazine Grammata. The first version of
the poem was written in 1894 and was entitled The Second Odyssey. It belongs to the category of
mythological-didactic poems and Cavafy draws inspiration from Homer’s Odyssey, Petronius’ Exhortatio
ad Ulissem, Dante’s Divine Comedy and Tennyson’s Ulysses. The central idea of the poem is that people
setting out for a purpose in their life acquire knowledge and experience which are superior to this cause.
ΙΘΑΚΗ1 (1911) 1
Σὰ βγεῖς στὸν πηγαιμὸ2 γιὰ τὴν Ἰθάκη, νὰ εὔχεσαι νἆναι μακρὺς ὁ δρόμος, γεμάτος περιπέτειες,3 γεμάτος γνώσεις.4 Τοὺς Λαιστρυγόνας καὶ τοὺς Κύκλωπας, 5
τὸν θυμωμένο Ποσειδῶνα μὴ φοβᾶσαι, τέτοια στὸν δρόμο σου ποτέ σου δὲν θὰ βρεῖς, ἄν μέν’ ἡ σκέψις5 σου ὑψηλή, ἄν ἐκλεκτὴ συγκίνησις6 τὸ πνεῦμα7 καὶ τὸ σῶμα8 σου ἀγγίζει. Τοὺς Λαιστρυγόνας καὶ τοὺς Κύκλωπας, 10 τὸν ἄγριο9 Ποσειδῶνα δὲν θὰ συναντήσεις, ἄν δὲν τοὺς κουβανεῖς μὲς στὴν ψυχή10 σου, ἄν ἡ ψυχή σου δὲν τοὺς στήνει ἐμπρός σου. Νὰ εὔχεσαι11 νἆναι μακρὺς ὁ δρόμος. Πολλὰ τὰ καλοκαιρινὰ πρωϊὰ νὰ εἶναι 15 ποῦ μὲ τὶ εὐχαρίστηση, μὲ τὶ χαρὰ θὰ μπαίνεις σὲ λιμένας12 πρωτοειδωμένους∙13 νὰ σταματήσεις σ’ ἐμπορεῖα14 Φοινικικά, 1. Ἰθάκη, ἡ: of uncertain etymology. Perhaps it originates from the Phoenician word “Utica” (colony); another view suggests it is related to a nickname of Prometheus. A third view relates the first component of the word (‐i) to the Phoenician word for the “island” whilst the second part is without explanation; 2. πηγαιμός, ὁ (gen. –ου): going somewhere, the route to a certain destination; 3. περιπέτεια, ἡ: a sudden change of fortune (ancient Greek); adventure (modern Greek). The poet is aware of both meanings; 4. γνώσις, ἡ, (gen. –εως): (from the verb γιγνώσκω) knowledge, wisdom; 5. σκέψις, ἡ, (gen. –
εως): (from the verb σκέπτομαι) perception by the senses, consideration, reflexion, thought; 6. συγκίνησις, ἡ, (gen. –εως): (from the verb συγκινέω) emotion; 7. πνεῦμα, τὸ (gen. –ατος): spirit; 8. σῶμα, τὸ (gen. –ος): body; 9. ἄγριος,‐α, ‐ον: wild; 10. ψυχή, ἡ, (gen. –ης): the soul of a man; in Homer, only a departed soul, spirit, ghost which still retained the shape of its living owner;11. εὔχομαι: to pray; 12. λιμήν, ὁ (gen. –ένος): a harbour; 13. πρωτοειδωμένος, ‐η, ‐ον: participle from πρῶτα (first of all, in the first place) and εἰδωμένος (from the verb ὁράω, to see); 14. ἐμπορεῖον, τὸ (gen. –ου): a trading place;
Ioannis Psycharis (1854‐1929) was a philologist of Greek origin, author and promoter of Demotic Greek. His most well‐known work is My Journey (1888) which established him as the mentor of the Demotic side in the Greek language question. 2 Kostis Palamas (1859‐1943) was the Greek poet who composed the Olympic Hymn. He was a central figure of the Greek literary generation of the 1880s and one of the co‐founders of the so‐called New Athenian School. 3 Demoticism: a linguistic movement which favoured the use of Demotic Greek in all levels of written and oral speech and its adaptation as the official language of the Greek state. 4 Gregorios Xenopoulos (1867‐1951) was a Greek novelist, journalist and author of theatrical plays. He was the founder and editor of the Nea Estia magazine which is still published and he became a member of the Academy of Athens in 1931.
1
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καὶ τὲς καλὲς πραγμάτειες15 ν’ ἀποκτήσεις, σεντέφια καὶ κοράλλια, κεχριμπάρια κ’ ἔβενους,16 20 καὶ ἡδονικὰ17 μυρωδικὰ κάθε λογῆς, ὅσο μπορεῖς πιὸ ἄφθονα ἡδονικὰ μυρωδικά σὲ πόλεις Αἰγυπτιακὲς πολλὲς νὰ πᾶς, νὰ μάθεις18 καὶ νὰ μάθεις ἀπ’ τοὺς σπουδασμένους. Πάντα στὸν νοῦ19 σου νἄχεις τὴν Ἰθάκη. 25 Τὸ φθάσιμον20 ἐκεῖ εἶν’ ὁ προορισμός σου. Ἀλλὰ μὴ βιάζεις21 τὸ ταξεῖδι διόλου. Καλλίτερα χρόνια πολλὰ νὰ διαρκέσει∙ καὶ γέρος22 πιὰ ν’ἀράξεις στὸ νησί, πλούσιος23 μὲ ὅσα κέρδισες στὸ δρόμο, 30 μὴ προσδοκῶντας πλούτη νὰ σὲ δώσει ἡ Ἰθάκη. Ἡ Ἰθάκη σ’ ἔδωσε τ’ ὡραῖο ταξεῖδι. Χωρὶς24 αὐτὴν δὲν θἄβγαινες στὸν δρόμο, Ἄλλα δὲν ἔχει νὰ σὲ δώσει πιά. Κι ἄν πτωχικὴ25 τὴν βρεῖς, ἡ Ἰθάκη δὲν σὲ γέλασε. 35 Ἔτσι σοφὸς26 ποῦ ἔγινες, μὲ τόση πεῖρα, 15. πραγμάτεια (gen. –ας): a trade, ware;
16. ἔβενος, ὁ (gen. –ου): very hard black wood; 17. ἡδονικός,‐α, ‐ον: sensuous, delightful, pleasant (from the word ἡδονή, ἡ: pleasure, enjoyment, pleasure); 18. νὰ μάθεις – from the verb μανθάνω, to learn; 19. νοῦς, ὁ (gen. –νοός): mind; 20. φθάσιμον, τὸ: the arrival (from the verb φθάνω: to come before, to reach); 21. βιάζω: to force, to constrain, to carry by force (ancient Greek), to rush (modern Greek); 22. γέρος , ὁ (gen. –ου): an old man (from the ancient Greek γέρων, ὁ (gen. –οντος); 23. πλούσιος, ‐α, ‐ον: rich, wealthy (from the noun πλοῦτος, ὁ); see also next line; 24. χωρίς, (preposition): without. 25. πτωχικός, ‐ή, ‐όν: poor (from πτωχός, ‐ή, ‐όν); 26. σοφός, ‐ή, ‐όν: wise; 27. ἡ Ἰθάκες: Cavafy starts with the article in singular nominative (ἡ) and continues with the noun in plural nominative (Ἰθάκες) in order to show that there is not only one purpose in the people’s minds but many. 28. σημαίνω: to signify, to mean; ἤδη θὰ τὸ καταλάβες ἡ Ἰθάκες27 τὶ σημαίνουν.28
Comments:
1-3 Σὰ βγεῖς… γνώσεις: These verses have a central position in the poem. Ithaca symbolises our
personal journey of life. The poet uses the 2nd person singular to give advice and make his poem didactic.
Line 3 is directly linked to the Homeric story of the return of Odysseus to Ithaca after the Trojan War. This
return was full of adventures, full of knowledge. Compare these lines with the following passage from the Odyssey:
Homer, the Odyssey 1.1-5
Ἄνδρα μοι ἔννεπε,1 Μοῦσα πολύτροπον,2 ὃς μάλα πολλὰ πλάγχθη,3 ἐπεὶ Τροίης ἱερὸν πτολίεθρον4 ἔπερσε∙5 πολλῶν δ’ ἄνθρώπων ἴδεν ἄστεα6 καὶ νόον ἔγνω,7 πολλὰ δ’ ὅ γ’ ἐν πόντῳ8 πάθεν9 ἄλγεα10 ὃν κατὰ θυμόν,11 ἀρνύμενος12 ἥν τε ψυχὴν καὶ νόστον13 ἑταίρων.14 1.ἐννέπω: poetic form of ἐνέπω, to tell, to describe, to relate.
2. πολύτροπος, ‐η, ‐ον: much‐travelled, wandering, turning many ways, versatile, ingenious ( from πολύς, τρέπω); 3. πλάζομαι: to wander, to go astray; πλάγχθη is epic passive aorist without augment; 4. πτολίεθρον, τὸ (gen. –ου): a city; diminutive of πτόλις, but used like πόλις; 5. πέρθω: to wage, to ravage, to sack, to destroy; 6. ἄστυ, τὸ (gen. –εος): a city, town. 7. γιγνώσκω: to know; ἔγνω is 3rd person singular, indicative, active, second aorist; 8. πόντος, ὁ (gen. –ου): the sea, esp. the open sea, the high sea; 9. πάσχω: to suffer or to be affected by anything whether good or bad πάθεν is second aorist without augment; 10. ἄλγος, τὸ: pain whether of body or mind, sorrow, grief, distress; 11. θυμός, ὁ (gen. –ου): the soul, the life, breath, heart (from the verb θύω); 12. ἄρνυμαι: to receive for oneself, gain, earn, carry off as a prize; defect. Dep. used only in present and imperfect, lengthened form of αἴρομαι; 13. νόστος, ὁ (gen. –ου): a return home or homeward, travel, journey (from the verb νέομαι); 14. ἑταίρος, ὁ (gen. –ου): epic and Ionic for ἕταρος, ὁ (ἕτης), a companion, comrade or companion in arms. These first verses of Ithaca stimulate our imagination and urge the reader to visualise the Homeric world of the past and our own world of the future. 4-5 Τοὺς Λαιστρυγόνας… Ποσειδῶνα: in the Odyssey the Laestrygonians and the Cyclops
Polyphemus are the mythical monsters which fight Odysseus and his companions and obstruct their return
to Ithaca. Polyphemus is blinded by Odysseus and asks for revenge from his father, Poseidon the god of the
sea. Poseidon employs bad weather and rough sea to destroy Odysseus’ hope of return. In Ithaca the
Laestrygonians, the Cyclopes and angry Poseidon lose their Homeric meaning and are transformed into
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19
universal symbols. They represent the obstacles that we face in our lives and that prevent us from achieving
our goals. Note that these symbols are repeated in lines 9-10.
13 Νὰ εὔχεσαι…ὁ δρόμος: Repetition of line 2. With this repetition Cavafy reverses the Homeric myth.
In Homer, Odysseus prayed for a fast return to Ithaca whilst Cavafy’s advises us to pray for a long trip
which will offer knowledge and experience. For Cavafy’s Odysseus it is the journey that counts, so the poet
wishes that the journey is full of adventures. However, the Homeric hero wishes to see even the smoke frp
Ithaca and then to die. Odysseus in Homer faces material obstacles, Cavafy’s hero faces his own fears.
Homer, the Odyssey 1.55-59:
…δύστηνον1 ὀδυρόμενον2 κατερύκει,3 αἰεὶ δὲ μαλακοῖσι4 καὶ αἱμυλίοισι5 λόγοισι θέλγει,6 ὅπως Ἰθάκης ἐπιλύσεται∙7 αὐτὰρ Ὀδυσσεύς, ἱέμενος8 καὶ καπνὸν ἀποθρῴσκοντα9 νοῆσαι ἧς γαίης, θανέειν ἱμείρεται…10
1. δύστηνος, ‐ος ‐ον: wretched, unhappy, unfortunate; 2. ὀδύρομαι: to bewail, mourn for, lament; 3. κατερύκω: to hold back, detain; 4. μαλακός, ‐η, ‐ον: soft, gentle, mild; 5. αἱμύλιος, ‐ος ‐ον: flattering, winning, wily (see also αἱμύλος); 6. θέλγω: to charm, enchant, spell‐bind; 7. ἐπιλανθάνω: to make to forget; 8. ἱέμενος: to send, send away, let go, dismiss (pres. part. passive of ἵημι); 9. ἀποθρῴσκω: to spring or leap off from, rise from; 10. ἱμείρω: to long for, yearn for or after, desire.
16: λιμένας πρωτοειδωμένους: the poet wants to underline the joy and beauty of the first time we
experience something in life. 17 σ’ ἐμπορεῖα Φοινικικά: the Phoenicians have developed a maritime, trading culture that spread
across the Mediterranean during the period 1550-300 BC. Cavafy uses them as the symbol of the sensuous
pleasures, the pleasures of the body. 18-21 καὶ τὲς καλὲς…ἡδονικὰ μυρωδικά: the poet tries to stimulate our senses with the “precious
stones” and the “hedonistic perfumes” that we should experience in life; these verses are an invitation to us
and to himself to taste the life of senses as intensely as possible. 22-23 σὲ πόλεις Αἰγυπτιακὲς… σπουδασμένους: Ancient Egypt is the symbol of knowledge and
learning; Cavafy’s beloved city was famous in antiquity for its Library which gathered an immense number
of books in combination to renowned researchers, who studied, discussed and commented on the ancient
authors (like Cavafy). The repetition of the word νὰ μάθεις (to learn) underlines the significance of
knowledge. Egypt symbolises the world of the mind. 24-25 Πάντα…προορισμός σου: These verses advise us not to forget our personal Ithaca, our
destination. Many times people forget their target in life and Cavafy advises us that we must always keep
our mind the reason of our trip. It is again underlined that it is better if the journey is long because of the
experience gained along the way. 30-31 μὴ προσδοκῶντας …ταξεῖδι: Ithaca has nothing to offer us anymore; the purpose of our life
seems empty after we have achieved it. There is certain pessimism in this message which does not however
reach the point of surrender. The true value of Ithaca was the “wondrous voyage”. For Odysseus it is the
purpose (Ithaca) that defines the significance of his being but for the Cavafian hero it is the journey and the
experience and knowledge acquired that make our life worth living. 36 ἤδη…τὶ σημαίνουν: the implication is that Ithacas are the targets, the ambitions and the dreams we
have in life.
1. Read the passage from the Odyssey 1.1-5 and compare it with the first lines of Ithaca. What are the
similarities and the difference of the Homeric hero Odysseus with the Cavafean hero (the reader)?
2. Compare line 1 to lines 23-24 and analyze their meaning.
3. Do you think that Cavafy’s message in Ithaca is optimistic or pessimistic and why?
4. What is the role of knowledge in human life according to the poet?
5. Explain why the poet uses the article ἡ in singular with the plural Ἰθάκες in the last line of the poem.
6. “Cavafy advises the reader through his symbols”. Discuss.
Sources:
- The edition used here is: C. P. Cavafy The Collected Poems, Oxford World’s Classics, Oxford 2008.
- The official website of the Cavafy archive with update bibliographies, photos, manuscripts, letters,
notes, etc. in Greek: http://www.cavafy.gr and in English http://www.cavafy.com
- Bibliography and Discography on Cavafy: http://cavafis.compupress.gr/public.htm
- Information about Giannis Smaragdis’ film Cavafy(1996): http://www.imdb.com/title/tt0115849/
- The Kavafis project: http://www.kavafis.eu/
European Symbols
20
LITHUANIA: Mysteries of the Lithuanian Parthenon
by Barbora Petronytė, Titas Vilkaitis, Onutė Baumilienė and Mintautas Čiurinskas
Just as the Greek Parthenon is one of the greatest cultural monuments of the world, the Cathedral of Vilnius
is one of the most wonderful pearls of Lithuanian culture. The history of both these temples is similar: the
buildings have been damaged and rebuilt on more than one occasion and are closely related to their region's
history. The old Greek Parthenon was dedicated to the goddess Athena, and the Lithuanian Parthenon to two
saints: St. Stanislovas and St. Vladislovas. In reality, the Vilnius Cathedral honours many famous names
and many well-known historical figures and, therefore, this cultural monument is a symbol of the spirit of
the Lithuanian nation.
The Cathedral of Vilnius
Photograph by Bernadeta Petronytė
source: http://lt.wikipedia.org/wiki/Vaizdas:Parthenon_
from_west.jpg, PD, [31.7.2011]
The beginning of the history of the Lithuanian Parthenon – the Cathedral of Vilnius – dates back to the 13th
century. It is thought that the building was originally King Mindaugas’ Cathedral, and then became a pagan
temple after Mindaugas’ death. Later, in 1419, the old cathedral burnt down and in its place the Grand Duke
Vytautas built a new larger aisled gothic cathedral. The building caught fire many times – once in 1530 and
again in 1610. After each fire, the temple was rebuilt in accordance with specific canons of that epoch, but
the holy place remained the same. The last reconstruction of the Lithuanian Parthenon was carried out in the
18th century, following the project of the architect Laurynas Gucevičius, commissioned by the bishop of
Vilnius, I. J. Masalskis. L. Gucevičius rebuilt the cathedral in a new, classical style, imitating architectural
forms of the Antiquity. The cathedral was rebuilt keeping in mind both past traditions and antique
architecture – this is represented well in the plan of the cathedral, which resembles both the Greek
Parthenon and the traditional layout of Lithuanian churches from the baroque and gothic periods, although
with some differences. Instead of towers, the architect planned grand chapels to be put in the corners. He put
twelve doric columns under the pipe organ gallery and decorated the grand altar with a doric portico of four
columns. The pediment is adorned with three monumental sculptures: St. Stanislovas, St. Elena and St.
Kazimieras. The cathedral represents L. Gucevičius' architectural philosophy: the harmonic and moderate
approach to art during the antique period was the ideal that L. Gucevičius followed.
The Cathedral of Vilnius has seen many great rulers: in 1529 the Lithuanian Duke1 Žygimantas Augustas
was crowned in the Cathedral, and since 1993 the presidents of our country have been inaugurated here. Just
like the Greek Parthenon, the building has also served as a necropolis2 for famous people of Lithuania – the
temple holds the remains of Vytautas the Great and his wife, his brother Žygimantas Kęstutaitis, Švitrigaila,
Žygimantas Kęstutaitis' son Mykolas, St. Kazimieras and his brother Alexander, the ruler of Lithuania and
Poland, and an urn with the heart of Duke Vladislovas IV Vaza, the bishops and members of the chapter of
Vilnius and the two wives of Žygimantas Augustas: Elisabeth of Austria and Barbora Radvilaitė. The latter
is related to one of the most romantic love stories of Europe.
Question:
How is the Cathedral of Vilnius similar to the Greek Parthenon? How are they different?
1
Grand Duchy of Lithuania - Feudal Lithuanian country that existed between the 13th and 18th centuries. Largest
country in Europe during the 15th century.
2
Necropolis (from the Greek νεκρόπολις) - historic burial ground or cemetery
European Symbols
21
The Cathedral of Vilnius. Photograph by Bernadeta Petronytė
source:
http://en.wikipedia.org/wiki/File:Acropolis-panorama-night.jpg,
CC BY-SA 3.0, [31.7.2011]
Barbora Radvilaitė was the offspring of the Radvilos, one of the most famous Lithuanian noble families of
the 16th century. Widowed early, the extraordinary beautiful Barbora enchanted the leader of Lithuania,
Žygimantas Augustas. The king of Poland and grand duke of Lithuania disregarded Barbora's family
warnings and even laid out a secret path from his castle to the Radvilos manor, just so he could visit his
beloved one without anyone's interference. The love affair was soon crowned with a secret wedding.
Žygimantas' parents – Žygimantas the Old and Bona Sforza – did not even want to consider a public
wedding, as Barbora Radvilaitė was not of royal blood. Even the Polish nobles were dismissive of the
lovers' union, as they were afraid of the already large influence of the Radvilos family. However, love
knows no bounds – in 1548, when inheriting rule over Poland, Žygimantas Augustas announced his
wedding and demanded that Barbora was crowned the queen of Poland. Thus Žygimantas defeated all who
opposed him, even his mother Bona Sforza, and in December 7th of 1550 Barbora Radvilaitė was crowned
the queen in Krakow, then capital of Poland. However, Barbora was already very ill. Ruling for a total of 5
months, she died in her husband's arms in May 5th, 1551 in Krakow. Her last wish was to be buried in the
Cathedral of Vilnius and Žygimantas Augustas fulfilled this wish. The king was incredibly shaken by the
death of Barbora – he had the walls of his living quarters painted black, the entire palace was in mourning,
and during the procedure that carried Barbora's remains to Vilnius, Žygimantas followed on foot. The king,
although he married again later, as he wanted children, never forgot his love – Barbora Radvilaitė. And so,
Barbora, who enjoyed her love only briefly and her rule for an even shorter amount of time, rests eternally
in the Cathedral of Vilnius.
Questions and tasks:
1. How was the history of Žygimantas Augustas and Barbora Radvilaitė's love unconventional?
2. Find Greek myths, resembling the royal pair's love story.
Žygimantas Augustas resided in Vilnius along with his court – the main proponent of Renaissance culture in
Lithuania. Among the court members especially close to Žygimantas Augustas was Pedro Ruiz de Moros,
poet and jurist of Spanish descent. Having received a typical „iuris utriusque doctoris“3 in the University of
Bologna. Pedro, invited by the queen Bona Sforza, ended up in the manor of Žygimantas Augustas. Pedro
Ruiz was a man of wide interests who did many important things to help Lithuanian culture: he participated
in creating the Second Statute of Lithuania and published a book on Lithuanian law, which became popular
in the rest of Europe and was used up until the beginning of the 18th century. Ruiz was a humanitarian, well
versed in both law and antique culture, but he participated in court life not only as a jurist, but also as a poet
who wrote very artistic epigrams and epitaphs4.
3
Doctorate degree of roman (civil) and canonical (ecclesiastical) law.
Epigram (from the Greek ἐπίγραμμα) short (usually a single strophe), clever poetic work, usually of a satirical nature,
highlighting the flaws of a certain person or group of people. Epitaph (from the Greek ἐπιτάφιος - „on a tomb“) text on
a tomb or a special plaque, usually rhymed, honouring the deceased.
4
European Symbols
22
Lucas Cranach the Elder. Barbora Radvilaitė
source: http://lt.wikipedia.org/wiki/Vaizdas:
Barbradziwill1520.jpg, PD, [31.7.2011]
The Cathedral of Vilnius. Epitaph for Queen Barbora.
Photograph by Bernadeta Petronytė
In the Cathedral of Vilnius there are 22 epitaphs written in the Latin language, one of them dedicated to
Barbora Radvilaitė5. This text was discovered in 1931 while cleaning the catacombs of the cathedral, on a
plaque attached to the queen's coffin. As during the Antiquity, the epitaph is anonymous, although after
comparing the text in the cathedral with well know works by Ruiz, there is no second guessing the author.
Compare the anonymous epitaph in the Cathedral with one of Ruiz' epitaphs dedicated to Queen Barbora.
Barbara, quae tegitur1 tumulo2 regina sub isto
Augusti conjux altera3 regis erat,
Commoda multa tulit multis, incommoda nulli
A qua se laesum dicere nemo potest.
Immatura4 obiit decima trieteridi capta5
Bis viduos fatis linquere jussa6 thoros.
Occidit ante diem et quamvis anus illa fuisset,
Diceret AUGUSTUS obiit ante diem.
(epitaph, found in the Cathedral).
1. tego 3, texi, tectum: here: is guarded
(praesens indicativi passivi); 2. in the grave
(tumulus, ī m: grave); 3. altera – here: the
second;
Barbara, quae condor1 tumulo, regina, sub isto,
Augusti coniux altera regis eram,
Immatura cado, decima trieteride coepta
Regales fatis linquere iussa toros.
Vixi2 grata minus populo3, sed noxia nulli4;
1. condo 3, idī, itum: here: am buried
(praesens indicativi passivi)
Augusto laus est me placuisse5 meo.
(Ruiz' epitaph)
4. immātūrus 3: immature, early; 5. decima
trieteride capta: taken, thirty years old
(trietēris, idis f: three years); 6. jubeo 2,
jussī, jussum: order (partcipium perfecti
passivi)
2. vivo 3, vīxī, vīctum: to live; 3. grata
minus populo: disliked by the people; 4.
noxia nulli : did not offend anyone (noxius
3); 5. laus est (verbum regens) me
placuisse (acc. cum infinitivo): deserved
glory for pleasing
5
Ruiz is the author of nine epitaphs dedicated to Queen Barbora Radvilaitė, although only one of them is publicized in
the Cathedral of Vilnius.
European Symbols
23
1. How is Ruiz' epitaph similar to antique epitaphs?
2. What facts does the epitaph reveal?
3. Does the epitaph reveal the individuality of the late queen?
All the epitaphs in the cathedral are dated between the 16th and 19th century, so the writings dedicated to
Barbora is one of the earlier examples. Overall, epitaphs are valuable not only for their information, but also
for their artistic merit – epitaphs are, after all, a form of short literature. It should be noted that these
Christian epitaphs are quite similar to pagan ones. The epitaphs in the Cathedral of Vilnius are of Roman
tradition (Greek tomb writings usually lack individuality), as they kept certain structural canons while
representing the individuality of the deceased. The epitaphs dedicated to Queen Barbora, as per Roman
tradition, indicate her name and age, while her extraordinarily short reigning period is usually told in
metaphors and litotes. Overall, nine epitaphs for Barbora are attributed to Pedro Ruiz. Here are some other
texts:
Barbara, Sauromatum1 cubat hic regina, potenti
De Radivilorum nobilis orta2 domo.
Dat mortem3, quae sceptra dedit, Cracovia4; regis
Quae dederat thalamum, Vilna dedit tumulum5.
1. Sauromatum = Sarmatarum: Sarmatians.
Here this ethnonym dating back to the Antiquity
is used to refer to the entire population of Poland
and Lithuania; 2. orior 4, ortus sum: to
come/originate from (partcipium perfecti
passivi); 3. mortem dare: to die; 4. Cracovia:
Krakow; 5. iteration: Roiz says what Krakow,
the king and Vilnius gave to the Queen;
Barbara, Sauromatum regina, hoc6 clausa7 sepulcro est,
De Radivilorum8 femina nata domo.
Augusto nupsit9 regi, dulcissima coniunx10,
Cui fuit in terris carius ante nihil.
Occubuit11 iuvenis; quae si longaeva12 fuisset
Defunctam13 Augustus ipse negaret anum.
6. hoc sepulcro: sg. Abl.: in the tomb; 7. claudo
3, clausī, clausum: to close, here: is buried;
8. of the Radvilos
9.nūbo 3, nūpsī, nūptum: to marry; 10.
coniunx = conjūx, jugis m, f: spouse, here:
Barbora;
11. occumbo 3, cubuī, cubitum: to die; 12.
longaevus 3: very old; 13. dēfungor 3, fūnctus
sum: to end, to die;
So, as it is required by the canon, the epitaphs describe Barbora's heritage and duties. In addition to that,
reading the epitaphs, like with Roman tomb writings, the places of birth and death of the deceased are
revealed. Overall, the epitaphs reveal their epoch's (in this case, the Renaissance's) worldview – the sense of
free will, confidence in one's own strength, dominance of emotions and justice. Although the genre,
according to antique tradition, is associated with honouring the dead and ignoring their flaws to the point of
sacralisation, Ruiz' epitaphs for Barbora are an exception, which was apparently based in the author's
streightfoward character and the dramatic, extraordinary love story of Žygimantas Augustas and his wife
Barbora Radvilaitė. Ruiz did not have to create anything fantastic – the actual situation was more
astonishing than any sort of artistically decorated reality.
Questions and tasks:
1. Which tradition do the epitaphs in the Cathedral follow – Greek or Roman? Why do you think so?
2. The remaining epitaphs for Barbora by Ruiz show the structural canons of the genre: indicating the
name, age, duration of reign, origin and received royal duties. Confirm or deny using the text.
3. What new things about Barbora's personality did you learn from Ruiz' epitaphs?
4. The renaissance era is the rebirth of the Antiquity. How do the epitaphs for Barbora reveal the
worldview of the Renaissance?
5. In what aspect do Ruiz' epitaphs differ from antique epitaphs? Why?
European Symbols
24
Former Yugoslav Republic of Macedonia: Grigor Prlichev
by Sofija Bejkovska, Vasil Bukovski and Jovica Grozdanovski
Gregorius Prlichev natus est Achridae anno MDCCCXXX
post Christi natum. Habuit pueritiam duram, quia pater eius
defunctus erat ipso Gregorio puerulo. In loco natali instructus est a
Demetrio Miladinov, viro illustris ingenii ac collectore noto
carminum popularium, qui iuvenem Gregorium ad magnum amorem
erga patriam populumque Macedonicum incitavit. Postea profectus
est Athenas ad medicinam studiendam, non tam sua quam matris
voluntate. Qua de causa studia sua parvi habebat eaque negligebat,
se flagranter operi poetico tradens. Ad hoc accedebat, quod Prlichev
linguam Graecam valde diligebat eamque magna cum cura
studiebat, praesertim verens carmina Homeri. Haec diligentia
fructum suavem peperit, non longum sed bene compositum ac
praeclarum poema O Armatolos, scriptum lingua Graeca expolita
nomine cathareuousa (i.e. expurgata). Cum hoc libello certamine
sollemne poetico anno MDCCCLX Athenis habito primum
praemium consecutus est. Hic eventus est culmen ac apex eius vitae.
Audita morte fratrum Miladinovi regressus est in Achridam,
quo intendebat populum suum erudire ac illustrare. Illo enim
tempore Macedonia gensque Macedonum, subiectae regno
Turcarum, dolebant atque Macedonibus scholae ac doctrina
Macedonice defuerunt. Desiderabat etiam linguam Panslavonicam generare, i.e. linguam communem
omnibus populis Slavonicis, verba variarum linguarum Slavonicarum in se continentem. Sed hoc consilium
Gregorii Prlichev, quamvis benignus, non multum valuit, cum esset susceptum a paucis et reiectum a multis,
imprimis a grammaticis Bulgaricis.
Decessit Prlichev Achridae anno MDCCCXCIII post Christi natum.
Scriptor est duorum poematum epicorum: O Armatolos ac
Scanderbegus12, unius narrationis vitae suae titulo Autobiographia,
unius disceptationis titulo Criticus et interpres, ac variorum carminum
atque articulorum diurnalium.
In carmine epico O Armatolos dimicationem herois Cosmae,
protectoris populi Macedonici, cum latronibus Albanis, incursus crebros
in Macedoniam occidentalem facientibus, depinxit.
In carmine epico secundo, longiore sed non expolitiore quam
primum, atque ipsum, ut O Armatolos, lingua cathareuousa scriptum,
titulo Scanderbegus, pugnam Georgii Castrioti cognomine Scanderbegi
(i. e. Alexandri Magni) contra Turcas depinxit.
In ambobus poematibus suis adeo excellenter imitatus est
Prlichev stylum Homeri, abunde verba poematum Iliadis Odysseaeque
utens ac similia modo illius poetae antiqui excudens, ut illo certamine
poetico Athenis cognomine Homeri secundi appellatus sit.
Autobiographia autem non solum est testimonium valens vitae
ipsius Prlichev, sed etiam indicium facit de condicione Macedoniae ac
de vita cotidiana eius incolarum in XIX saeculo, atque partim de
condicione totius regni Turcarum id temporis.
Quid possimus uno verbo de Prlichev dicere? Erat enim ille doctus ac illustris vir, magnus cultor ac
amans linguae litterarumque antiquorum Graecorum, desiderabat etiam linguam Slavonicam communem
generare, atque multum eius intererat de moribus ac de modo vivendi aliorum populorum. Huius ultimi
exemplum bonum invenias in eius poematibus epicis, in quibus multa loca sunt indicia de gente Albanorum
continentia.
12
Quindecimsyllabo civili scripta (-/-/-/-/-/-/-/-). Read according to Byzantine tradition (as in Modern Greek).
European Symbols
25
ΙΛΙΑΣ, 3. 328-38
αὐτὰρ1 ὅ γ' ἀμφ' ὤμοισιν2 ἐδύσετο3 τεύχεα4 καλὰ
δῖος5 Ἀλέξανδρος Ἑλένης πόσις6 ἠϋκόμοιο7.
330 κνημῖδας8 μὲν πρῶτα περὶ κνήμῃσιν9 ἔθηκε
καλάς, ἀργυρέοισιν10 ἐπισφυρίοις11 ἀραρυίας12·
δεύτερον αὖ13 θώρηκα14 περὶ στήθεσσιν15 ἔδυνεν
οἷο κασιγνήτοιο16 Λυκάονος· ἥρμοσε17 δ' αὐτῷ.
ἀμφὶ δ' ἄρ' ὤμοισιν βάλετο18 ξίφος19 ἀργυρόηλον20
335 χάλκεον21, αὐτὰρ ἔπειτα σάκος22 μέγα τε στιβαρόν23 τε
κρατὶ24 δ' ἐπ' ἰφθίμῳ25 κυνέην26 εὔτυκτον27 ἔθηκεν
ἵππουριν28· δεινὸν29 δὲ λόφος30 καθύπερθεν31 ἔνευεν32·
εἵλετο33 δ' ἄλκιμον34 ἔγχος35, ὅ οἱ παλάμηφιν36 ἀρήρει37.
1.αὐτάρ, conj.: - but, at the same time,
however; 2. ὦμος, ὁ - shoulder (-οισι
is dat.); 3. δύ(ν)ω - make way into;
sink, set (a heavenly body); put on
(clothes); 4. τεῦχος, τὸ - instrument,
utensil, useful; weapon, armament,
armor; 5. δῖος 3 - heavenly, divine;
noble, excellent; 6. πόσις, ὁ - husband,
owner; 7. εὔκομος 2 - lovely-haired (οιο is gen.); 8. κνημίς, -ῖδος, ἡ greave, legging; 9. κνήμη, ἡ - part
between knee and ankle, leg, shank;
10. ἀργύρεος 3 - of silver; 11.
ἐπισφύρια, τά - leg-guards, anklepieces; 12. ἀραρίσκω - join/fit
together; furnish/fit with…; 13. αὖ,
conj. - again; further, next; 14. θώραξ,
-ακος, ὁ - corslet; 15. στῆθος, τό chest. οἷο = οὗ (gen. of rel. pron.); 16.
κασιγνήτος, ὁ - brother; 17. ἁρμόττω adapt; fit well…; 18. βάλετο - no
augment; 19. ξίφος, ὁ - sword; 20.
ἀργυρόηλος 2 - silver-studded; 21.
χάλκεος 3 - of copper or bronze,
brazen; 22. σάκ(κ)ος, τό - shield; 23.
στιβαρός 3 - strong, stout, sturdy; 24.
κράς, κρατός – head; 25. ἴφθιμος 3 strong, powerful; 26. κυνέη, ἡ helmet; 27. εὔτυκτος 2 - well-made,
well-wrought; 28. ἱππούρις, -ιδος, ἡ horse-tail (here as adj.); 29. δεινός 3 fearful, terrible (here as adv.); 30.
λόφος, ὁ - back of the neck; crest (of a
hill, ridge, helmet); 31. καθύπερθεν,
adv. - from above; 32. νεύω - incline,
nod; 33. αἱρέω - take, grasp; 34.
ἄλκιμος 2, 3 - stout, brave; 35. ἔγχος,
τό - spear; 36. παλάμη, ἡ - palm of the
hand (-φι is a gen.&dat. sg.&pl. suff.
to nouns); 37. ἀρήρει (ἀραρίσκω) plpf. with impf. meaning.
Statue of Paris holding the golden apple (British Museum)
Poster for the film "Troy" (Orlando Bloom as Paris)
* Sources: Прличев, Григор. Скендербеј - Σκενδέρμπεης (препев на Михаил Д. Петрушевски). Скопје:
Македонска книга, 1974. and Митевски, Витомир. Хомер и Прличев: влијанието на хомерската епска поезија
на „Арматолос“ и „Скендербеј“ од Григор С. Прличев. Скопје: Ѓурѓа, 1995.
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ΣΚΕΝΔΕΡΜΠΕΗΣ, 2361-2401
2365
2370
2375
2380
2385
2390
2395
2400
Ὁ δ' ἥρως ἐνεδύετο τὰ περιβόλαιά1 του,
λαμβάνων πάντα ἐκ χειρὸς Δωρίκης τῆς ἀνάσσης2·
χιτῶνα μὲν χρυσόκομβον3 περὶ τὰ στήθη πρῶτον,
ἔνθα ἱστὸν4 δὲν ἔβλεπε τοῦ θεατοῦ το ὄμμα,
ὅλον δ' ἐκάλυπτε χρυσός· ἐπὶ δὲ τοῦ χιτῶνος
πρὸς τὸν εὐώνυμον5 μαζόν6, τοῦ βίου τὴν ἑστίαν,
ἔνθ' ἀϊδίως7 ὕπωθεν δονεῖται8 ἡ καρδία,
χρυσοῦν ἐστήλωσε9 σταυρὸν διαπρεπῆ10 καὶ μέγαν,
ὃν ἐδωρήσατο αὐτῷ ὁ τουρκομάχος Πῖος,
Πῖος, ὃν δεύτερον καλεῖ Κλειὼ ἡ εὐθυῤῥήμων11,
Πῖος ὁ μέγας, ὕπατος12 ἀρχιερεὺς13 τῆς Ῥώμης,
ὃν εὐαγῶς14 ἐλάτρευε15 Σκενδέρμπεης ὁ θοῦρος16
ὥσπερ οὐσίαν τοῦ Χριστοῦ καὶ εὔσωμον17 εἰκόνα,
ὅτι πολλὰς ἀπήμβλυνε18 πυρπνόων19 ὅπλων σφαίρας,
ἕλκων20 αὐτὰς ἐφ' ἑαυτοῦ ἐν κραταιᾷ δυνάμει,
καὶ ἤμυνε21 τὸν ὄλεθρον22 Σκενδέρμπεη τοῦ θούρου·
ἀναξυρίδα23 ἔπειτα καλὴν περὶ τὰ σκέλη24,
ἔγχρυσον, ἔνερθεν25 στενήν26, ὕπερθεν27 δὲ εὐρεῖαν28·
περὶ τοὺς πόδας πέδιλα29 ἐκ δέρματος βοείου,
σκυτίνην30 περὶ τὴν ὀσφὺν31 χρυσῷ ποικίλην ζώνην,
ἀλεξητήριον32 σφαιρῶν, κενὴν πυρπνόων ὅπλων,
ἐμίσει δὲ Σκενδέρμπεης τὰ ὅπλα τὰ πυρπνόα·
περὶ τοὺς ὤμους ἄλκιμον ῥομφαίαν33 τουρκοφόνον,
ἧς πᾶσαν τὴν ὑφήλιον34 ἐκάλυψεν ἡ φήμη,
ἥτις ἐπτόει35 τοὺς λαοὺς ἐν μάχαις μιγνυμένη36,
καὶ ἀσεβῶν ἐπλήρωσε τοῦ ῾Άϊδου τοὺς κευθμῶνας37·
κόρυθα38 τέλος ἥρμοσε περὶ τὴν κεφαλήν του
σκυτίνην, σιδηρόφρακτον39, σοφοῦ τεχνίτου ἔργον,
ἥν ποτ' ἐδώρησεν αὐτῷ ὁ ἄναξ Φερδινάνδος,
οὐ μόνην, ἀλλὰ μετ' αὐτῆς πολλὰ καὶ ἄλλα δῶρα,
καὶ ἅμα τρεῖς λαοπληθεῖς40 εὐρυαγυίους41 πόλεις·
Σιποῦντά τε καὶ Τράνειαν καὶ Σάντον Ἰωάννην,
ἵνα ὁ ἥρως νέμηται42 αὐτὰς κ' οἱ ἔγγονοί του,
ὅθ' ὑπερπόντιος43 ἐλθὼν πρὸς τὴν φωνήν του πάλαι
τῆς Ἰταλίας ἔξωσε44 τοὺς μεγαθύμους Κέλτας,
οὓς ἦγεν ἄρχων συνετὸς45 ὁ ἥρως46 Πικινῖνος,
νίκην ἀράμενος διπλῆν ἐν Βάρῃ καὶ Νοκέρᾳ,
κ' ἐστήριξε47 τοῦ ἄνακτος κλονούμενον48 τὸν θρόνον·
ταύτην ὁ ἥρως ἥρμοσε περὶ τὴν κεφαλήν του,
ἦν δὲ πτερὸν ἐρωδιοῦ49 ἐπὶ τὸν ἄκρον λόφον,
ἀρχαῖον σύμβολον σεμνὸν Σκενδέρμπεη τοῦ θούρου.
1. περιβόλαιος 2 - encircling; subs.
covering, garment;
2. ἄνασσα, ἡ - queen, lady;
3. κόμβος, ὁ - knot, fastening, button;
4. ἱστός, ὁ - beam of a loom; warp fixed
to the beam; the web;
5. εὐώνυμος 2 - of good name; fortunate;
euphem. left; 6. μαζός, ὁ - breast; 7. ἰδίως,
adv. – peculiarly; 8. δονέω – shake;
9. στηλόω - set (up); 10. διαπρεπής, -ές –
distinguished;
11. εὐθυῤῥήμων, -ον (gen. -ονος) - plainspoken;
12. ὕπατος 3, 2 - highest; supreme; 13.
ἀρχιερεύς, -έως, ὁ -chief-priest; pontiff,
pope; 14. εὐαγής, -ές - free from
pollution, pure; guiltless; 15. λατρεύω –
serve; 16. θοῦρος 2 - rushing, impetuous,
furious; 17. εὔσωμος 2 - sound in body;
18. ἀπαμβλύνω - blunt or dull the edge of;
19. πύρπνοος 2 - fire-breathing; 20. ἕλκω
- draw, drag; 21. ἀμύνω - keep off, ward
off; 22. ὄλεθρος, ὁ - ruin, death; 23.
ἀναξυρίδες, -ίδων, αἱ (pl. tant.) – trousers;
24. σκέλος, τό - leg from the hip
downwards; 25. ἔνερθεν, adv. - from
beneath; beneath, below; 26. στενός 3 –
narrow; 27. ὕπερθεν, adv. - from above;
above; 28. εὐρύς, εὐρεῖα, εὐρύ - wide,
broad; 29. πέδιλον, τό - any covering for
the foot; 30. σκύτινος 3 - made of leather;
31. ὀσφύς, -ύος, ἡ - loin(s), lower part of
the back; 32. ἀλεξητήριον, τό - remedy,
medicine; protection; 33. ῥομφαία, ἡ large, broad sword; 34. ὑψήλιος 3 - that is
under the sun; 35. πτοέω -terrify, scare;
36. μείγνυμι - join, bring together, mix up;
37. κευθμῶν, -ῶνος, ὁ - hiding place,
hole; 38. κόρυς, -υθος, ἡ - helmet;
39. σιδηρόφρακτος 3 - protected with
iron;
40. λαοπληθής , -ές - full of people,
crowded; 41. εὐρυάγυια, Hom. fem. adj. with wide streets;
42. νέμω - distribute; med. distribute
among themselves and have as one's
portion; 43. ὑπερπόντιος 2, 3 - over the
sea; from beyond the sea; 44. ἐξωθέω force out; expel; drive out; 45. συνετός 3 intelligent, wise; 46. ἀείρω - lift, raise up;
med. carry of, win (part. of aor.);
47. στηρίζω - support, confirm; 48.
κλονέω - drive tumultuously or in
confusion; pass. be harassed, shaken;
49. ἐρῳδιός, ὁ - heron.
Comment:
Using the theme of armament, Grigor Prlichev is getting really close to Homer. The way Prlichev
creates the composition clearly shows us the Homeric background. The description of the armament of
Alexander is the simplest of all descriptions of that theme in the Iliad, so it is easy to witness the six
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27
constructive elements. Hence it is the most adequate for comparison with the portrayal of the
armament of the hero Skenderbei in Prlichev’s Skenderbei.
If we compare the armament of Alexander in the Iliad
with the one of Skenderbei we will clearly notice not only that
they are composed of the six constructive elements1, but also
that they have the same sequence of relation2, which represents
a kind of ritual sequence in the formula, depending on the
tradition of typical battle scenes. This is the most discussed
theme between the analysts because it is considered to be a
typical theme of epic poetry.
If we take a closer look at the whole composition, we will
surely find three parts that every armament consists of: preface,
Bronze sculpture of Skenderbei in Skopje
light-motif and free standard form. The preface in the case of
Alexander is contained in the first two verses, where his armament is announced (328/9); the lightmotif is found in the next three verses, in which Alexander puts on his body protection (330/2); and
the rest of the verses show us free process of the standard elements. In the case of Skenderbei, we
recognize the preface in verses 2361/2 and the light-motif in verses 2377 and 2379/80. The rest,
resembling Homer’s epics, contains free form of expression.
Consisting of the main elements, the typical theme is rather simple
and sometimes boring, which explains why every epic poet has to put
something individual in it. Even in the simple form of the armament of
Alexander, there are some specific details and descriptions making the
theme look more interesting and individual. Trying to escape the typical,
Prlichev adds one more constructive element in the theme of armament –
the cross. Here we sense the free standard form where the writer explains
with just one specific detail the idea of battle, the time when the battle
occurs and the revolt of the hero. In that manner the theme obtains a
function of real and psychological preparation for battle. That is the Scanderbegus (1444)
introduction of a new thematic complex – the manifestation of heroism.
Aside from the fact that Prlichev as a poet followed Homer in his writings, we can also say
that he mastered the art of composing from his teacher, had deep sensations in poetry and did
something that only few had done before – a masterpiece of epic poetry written in non-maternal
language.
1. Who is Grigor Prlichev, where did he live
and in what century did he write?
2. Number some of his famous writings.
3. What else can we learn from his
Autobiography beside his life?
4. Who can Prlichev be compared with?
5. What is the main theme of Skenderbei?
6. Why is the part of armament important in
epic poetry?
The Church of Sts. Clement and Panteleimon (reconstructed)
7. How many constructive elements are there
on Plaoshnik
in both descriptions of armament (Alexander
– Iliad, Skenderbei – Skenderbei)?
Enumerate them.
8. How many parts can we separate from the
whole composition of armament?
9. According to your opinion, why is the cross
so important in the armament of
Skenderbei?
10. Learn four verses by heart and try to recite
them in meter.
Lake Ohrid from the amphitheater of ancient Lychnidos
1
The six constructive elements are: clothes for the upper part of the body, clothes for the lower part of the body, protection
for the body and chest, offensive arm and protection for the head.
2
It means that every hero arms himself in the same sequence. Firstly the clothes, then the shield,.. etc.
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28
The Netherlands: Erasmus’ Praise of Folly
by Egge Tysseling/The Netherlands
The greatest of the northern humanists was
Desiderius
Erasmus
(Rotterdam,
the
Netherlands, 1466-1536). Both his parents died
before he was twenty, and this, it seems,
prevented him from going straight on to a
university. His guardians sent him to a monastic
school instead, and in due course he joined an
Augustinian monastery. The result of these early
experiences engendered in him a lasting hatred
for the severe and unimaginative scholasticism
that had been inflicted on him.
At the end of 1499, he went for a short visit to
England, where he met Thomas More. Upon his
return to the continent he took up Greek to good
effect. When he visited Italy in 1506 he took his
doctorate at Turin, but found no one to excel him
in Greek. In 1516 he publishes the first edition of
the New Testament in Greek to appear in print.
Of his books, the best remembered is “The
Praise of Folly”, a satire composed at More’s
house in London, in 1511. The Greek title is a
pun on More’s name.
Desiderius Erasmus (Holbein)
Erasmus wrote the work in one week and dedicated it to
his host. Instantly it made him famous all over the
world: 40 editions saw the light in Erasmus’ lifetime.
In this work Folly itself is speaking, personified as a woman. To this Lady all human beings
are equal and nobody escapes from her playful criticism: popes, knights, bishops, merchants.
All people’s degree of folly is tested. This turns accurate scholars and scientists into nitwits,
and power into impotence. Behind this satire the contents are moralizing. For instance: the
real Christian is not interested in something material and lifts himself by being a humble
person, which the world thinks is a folly. Still, Erasmus realistically realizes no one can do
without material matters, but modesty and self control with respect to material matters make
people sensible. Like with Socrates also with Erasmus irony is a means to come to selfknowledge.
In “The Praise of Folly” Erasmus puts forward bitter attacks on the degradation of religious
institutions and their ministers. In spite of his outspoken criticisms he did not, when the time
came, declare openly for the Reformation. He held the essentially Protestant view that man
stands in direct relation with God and that theology was superfluous. But at the same time he
would not be drawn into religious controversies arising in the wake of the Reformation
movement. He was more interested in his scholarly pursuits and his publishing, and felt in any
case that the schism was unfortunate.
While in some measure it is true enough that controversies of this kind are a nuisance, these
issues could not be ignored. In the end Erasmus declared for Catholicism, but at the same time
became less important. The stage was held by men of stronger mettle.
It is in education that the influence of Erasmus came to leave its most lasting impression. The
humanist learning which, until recently, was the core of secondary education wherever
Western European views prevailed, owes much to his literary and teaching activities. In his
work as a publisher he was not always concerned with exhaustive critical examination of
texts. He aimed at a wider reading public rather than at academic specialists. At the same time
European Symbols
29
he did not write in the vulgar tongue. He was on the contrary intent on strengthening the
position of Latin.
Laus Stultitiae (The Praise of Folly), chapter 20: No marriages without Folly.
1
Porro quod de amicitia dictum est, id multo magis de
coniugio1 sentiendum2, quod quidem nihil est aliud,
quam individua3 vitae coniunctio. Deum immortalem,
quae non divortia4, aut etiam divortiis deteriora5 passim
5
acciderent, nisi viri feminaeque domestica consuetudo6,
per adulationem7, per iocum, per facilitatem8, errorem9,
dissimulationem10, meum utique11 satellitium12, fulciretur13 alereturque? Papae14, quam pauca coirent15
matrimonia, si sponsus16 prudenter exquireret quos
10 lusus17 delicata18 illa, sicuti videtur, ac pudens virguncula19 iam multo ante nuptias20 luserit?
Tum quanto pauciora cohaererent21 inita22, nisi plurima
uxorum facta per viri vel negligentiam vel stuporem23
laterent24?
Atque
haec
quidem
merito
stultitiae
15 tribuuntur,verum ea25 interim praestat26, ut marito
iucunda sit uxor, uxori iucundus maritus, ut tranquilla
domus27, ut maneat affinitas28. Ridetur29, cuculus30,
curruca31 et quid non vocatur, cum moechae32 lacrimas
labellis33 exorbet34.
20 At quanto felicius35 sic errare, quam zelotypiae36 diligentia cum sese conficere, tum37 omnia miscere tragoediis38?
1. coniugium, -i n.: marriage; 2. sentio
4: to consider; 3. individuus 3:
unbreakable; 4. divortium, -i n.:
divorce; 5. deterior, -oris: worse; 6.
consuetude, -inis f.: intercourse; 7.
adulatio, -onis f.: flattery; 8. facilitas, atis f.: indulgence; 9. error, -oris m.:
error, mistake; 10. dissimulatio, -onis f.:
pretence; 11. utique: in short; 12.
satellitium, -ii n.: followers; 13. fulcio
4: to support; 14. Papae: (my)
goodness; 15. coeo, -is, -ire, -ii, -itum:
to be contracted; 16. sponsus, -i m.:
bridegroom; 17. lusus, -us m.: game;
18. delicatus 3: sweet, tender; 19.
virguncula, -ae f.: little bride; 20.
nuptiae, -arum f.: wedding; 21.
cohaereo, -es, -ere, -haesi: to last; 22.
inita: sc. matrimonia; 23. stupor, -oris
m.: stupidity; 24. lateo, -es, -ere, -ui: to
be concealed; 25. ea: sc. stultitia; 26.
praesto, -as, -are, -stiti, -stitus: to
achieve that; 27. domus, -us f.: house;
28. affinitas, -atis f.: love; 29. rideo, es, -ere, risi, risum: to laugh at; 30.
cuculus, -i m.: mug; fool; 31. curruca,
-ae f.: donkey; 32. moecha, -ae f.:
unfaithful wife; 33. labellum, -i n.: lip;
34. ex(s)orbeo, -es, -ere, -ui: to absorb;
35. quanto felicius: sc. est; 36.
zelotypia, -ae f.: jealousy; 37. cum …
tum: not just, but also; 38. miscere
tragoediis: to turn into a tragedy
1. Is folly necessary for a good marriage or not? Explain
your answer.
2. What is Erasmus’ thought about a woman before her
wedding?
3. Is the husband, in Erasmus’ view, smarter or more stupid
than his wife? Explain.
4. Write down at least 3 advantages of stupidity with
respect to marriage.
5. What is the error in the last 2 lines?
part of the text
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30
Laus Stultitiae (The Praise of Folly), chapter 49: Those unfortunate teachers
Adeo sibi placent1, dum pavidam turbam minaci2
1
vultu voceque territant, dum ferulis3, virgis4 lorisque5
conscindunt6 miseros, dumque modis omnibus suo
arbitratu7
saeviunt,
asinum8
illum
Cumanum
imitantes.
5
Interim sordes9 illae merae10 munditiae11 videntur,
paedor12 amaricinum13 olet14, miserrima illa servitus15
regnum esse putatur, adeo ut tyrannidem suam nolint
cum Phalaridis16 aut Dionysii17 imperio commutare18.
Sed longe etiam feliciores sunt nova19 quadam
10 doctrinae20 persuasione21. Siquidem22 cum mera
deliramenta23 pueris inculcent24, tamen, dii boni,
quem non illi Palaemonem24, quem non Donatum25
prae26 sese contemnunt?
Idque nescio quibus praestigiis27 mire efficiunt, ut
15 stultis materculis et idiotis28 patribus tales videantur,
quales ipsi se faciunt.
1. adeo sibi placent: they are so
pleased with themselves; 2. minax, cis: grim; 3. ferula, -ae f.: rod; 4.
virga, -ae f.: twig; 5. lorum, -i n.:
whip; 6. conscindo, -is –ere, -scidi, scissus: to flog; 7. suo arbitratu: at
random; 8. asinus, -i m.: donkey;
9. sordes, -ium (f. pl.): dirt; 10.
merus 3: pure, mere; 11. munditiae,
-arum (f. pl.): neatness; 12. paedor, oris m.: filth; 13. amaricinus, -i m.:
marjoram; 14. oleo, -es, -ere, -ui (+
acc.): to smell like; 15. servitus, -utis
f.: slavery; 16. Phalaris, -idis m.: a
tyrant; 17. Dionysius, -ii m.: a tyrant;
18. commuto 1: to exchange; 19.
novus 3: unknown; 20. doctrina, -ae
f.: erudition; 21. persuasio, -onis f.:
conviction; 22. siquidem: for; 23.
deliramentum, -i n.: nonsense; 24.
inculco 1: to drum into; 24.
Palaemon, -onis m.: famous linguist;
25. Donatus, -i m.: famous linguist;
26. prae: compared to; 27.
praestigiumm -i n.: trick, magic
means; 28. idiotus 3: simple, stupid
Comments:
4.: asinus Cumanus:
according to a story this donkey, dressed in a lion’s skin, terrified people
1. How do the teachers feel about the way
they treat their pupils?
2. Write down the other 3 words that
Erasmus uses for the tyranny of teachers.
3. Why don’t the teachers consider
themselves as tyrants (10-14)?
4. What is the reason for Erasmus’
astonishment (15-17)?
schoolmaster
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31
European Symbols
32
PORTUGAL: Coimbra, University City
by Susana Marques/Francisco de Oliveira
Coimbra, sang by several Portuguese authors throughout the time
(i.e. Luís de Camões, António de Cabedo, Manuel Alegre), finds in
its University an inescapable ex libris (cf. images 1, 5, 6, 7). Close
to the town, it has been founded by the King D. Dinis in the end of
the 13th century and it is one of the oldest Universities in Europe,
having since always received students of several origins, among
whom there are well-known people linked to areas as diverse as
Literature, Law, Medicine or Politics.
A dominant centre of the Portuguese culture during successive
centuries, Coimbra is suggestively designated as the ‘lusa Atenas’
(‘the Portuguese Athens’), both because it is
situated on a hill, and also because it has
become a reference of knowledge (cf. image
2, the symbolic presence of the Sapientia in
the University logo). The Greek-Roman
matrix is therefore well present in Image 1 – University Tower
Coimbra’s architectural patrimony, namely in the Forum Cryptoporticus of
Aeminium1 — the Roman city that would change its name into Conimbrica and
later to the current name of ‘Coimbra’ —, in the Minerva Stairs, in the ceilings
with classical allegories in the Joanine Library (cf. image 4), in the statues in
Image 2
front of the Faculty of Letters (cf. image 3), sculpted by the Portuguese artist
Barata Feyo: Demosthenes, Aristotle, Herodotus and Sappho, representative figures of Eloquence,
Philosophy, History and Poetry, respectively.
Image 3 – Statues sculpted by Barata Feyo
Image 4 – Detail in the ceiling of the Joanine Library
Several names of the Portuguese Renaissance praised the
‘lusa Atenas’ in their poems, recurring to rhythms used by the
Classical Antiquity.
The Humanist Diogo Pires (1517-1599) evokes the city of the
Mondego river in an epigram celebrating the foundation of
the Arts School of Coimbra (Colégio das Artes), created by
D. João III in the 16th century with the aim of developing the
pre-university studies.
Its curricula guaranteed a classical background that included
the study of Greek and Latin, considered important for all
those who wished to continue their studies in a Faculty.
1
The Cryptoporticus is incorporated in the Machado de Castro National Museum.
European Symbols
33
1
Cernis ut illa uetus regum Conimbrica sedes
ante alias urbes exserat una caput?
Nam cum fida diu templis suspenderit arma,
Aonidum lucos et iuga summa colit.
Hic Academiae, hic sunt loca nota Lycaei,
5
hic schola constructis inclyta porticibus.
Instat et ipsa sibi laudis studiosa iuuentus:
interea docta laurea fronde uiret.
Adsit Aristoteles, doctas miretur Athenas,
et locus hic dicat plus pietatis habet.
10
Adsit et interpres Diuum Cumaea Sibylla,
plena Deo uates ore futura canat:
donec Monda maris uicini excurret in undas,
stabit Ioannis nobile Regis opus.
Comments:
1uetus regum sedes: Coimbra has been the capital of the Portuguese Kingdom (12th century) and the
residence of several Portuguese kings (particularly between the 12th and the 13th centuries).
4 Aonides: the Muses, named Aonides because the Mount Helicon, in the Boeotia or Aonia, had been
consecrated to them.
5 Academiae, Lycaei: names commonly used by the Humanists to refer to superior schools (cf. A. C.
Ramalho 1994: 209).
6 constructis porticibus: allusion to the Arts School (Colégio das Artes), with an architecture of classical
inspiration.
8 laurea: Bay, symbol of Apollo and of knowledge, is also the symbol of the Arts School’s students.
9 Aristoteles: the conflict with the Classical Antiquity for the praise of the contemporary people is a
particularly common procedure in the Renaissance.
13 Monda: the city of Coimbra is built over the most important river, entirely Portuguese, the Mondego, in
Latin Munda or Monda; maris uicini excurret in undas: the sea is about 40 kilometres far from Coimbra.
14 Ioannis Regis: D. João III, founder of the Arts School.
1. Explain the insistence of the use of adjectives as inclytus, doctus, nobilis.
2. Clarify the meaning of the use of the cause conjunction nam, deftly placed in the beginning of verse 3.
3. Describe the Arts School’s young students according to Diogo Pires’s verses.
4. Clarify the pertinence of the anaphoric repetition in the verses 5-6 (hic).
5. Justify the inclusion in the poem of the Cumaean Sibyl’s speech.
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34
Also the Humanist Inácio de Morais (death 1580) described in his Conimbricae Encomium a particular
moment of Coimbra’s academic life, the Doctorate degree’s insignia imposition (cf. image 8):
1
Adde, quod et populum laetis Conimbrica ludis
exhilarat, crebro quos celebrare solet.
Nam quoties quisquam studiis sua praemia poscit,
et lauri emeritum cingere fronde caput:
antiquo canitur laetus de more triumphus,
5
pergit et ad doctas ordine pompa Scholas.
Incedit rector, comitatus fascibus aureis.
Atque comes sequitur densa caterua uirum.
Turba it doctorum, redimitaque tempora sertis,
textaque quisque suo tincta colore gerunt.
10
Plebs stupefacta ruit studio diffusa uidendi,
et reboant festo tympana pulsa sono.
Miscet et alterno strepitu tuba rauca sonorem,
argutos fundunt et caua buxa modos.
Tum personatis iuuenes discurrere gaudent
15
uultibus,et lepidos ore referre iocos.
Sic cum Romanus domito dux hoste triumphum,
atque olim niueos uictor agebat equos:
laurigerum magno excipiebat honore senatus,
et populus plausum uoce sonante dabat.
20
Tota igitur gaudet clamore Academia festo,
donatur lauru dum quis Apollinea.
Attalica exornant spatiosum aulaea theatrum:
ordo sedet patrum, Palladiusque chorus.
Comments:
1-24 These verses recreate the habitual celebrations in the Doctorate insignia imposition, which included
music as well as an entourage.
15-16 Reference to the representation of school theatre in the 16th century, which was compulsory in certain
academic acts such as the degree’s ceremonies.
23 spatiosum theatrum: the Capelos Room (Sala dos Capelos), stage of several academic ceremonies.
24 ordo patrum: members of the University with a sit in the ceremonies, including the Professors of the area;
Palladiusque chorus: probable reference to an academic Choir; currently, the musical element is under the
charge of the Charamela, a small orchestra of wind instruments that plays musical works during certain
solemn ceremonies that take place in the Capelos Room (Sala dos Capelos).
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35
1. Register words that allude to different participant in the Doctorate insignia imposition celebrations.
2. Identify words/phrases that suggest different sensations.
3. Justify the use of uidendi, in verse 11.
4. Clarify the reason of the alliteration, particularly of the occlusives, nasals, vibrant and sibilant in the
verses 13-14.
5. Clarify the meaning of the comparison present in the verses 17-22.
Image 6 - Porta Férrea
Image 7 - Via Latina
Image 8 – Doctorate insignia imposition’s entourage
Sources:
-
(2002), Fernando Aguiar-Branco-Doutor Honoris Causa em Letras (sinopse dos factos relativos ao
Doutoramento). Doutores Honoris Causa em Letras de 1926 a 2001 (sinopse das suas biografias).
Porto.
-
Ramalho, A. C. (1998), Para a História do Humanismo em Portugal I. Lisboa.
Ramalho, A. C., ed. (21994), Latim Renascentista em Portugal (Antologia). Coimbra.
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36
Romania: Dimitrie Cantemir, a Humanist and a Latinist
by Gabriela Creţia
DIMITRIE CANTEMIR (1673-1723). HIS LIFE AND WORKS
Son of a prince from Moldova (nowadays a region of
Romania) and later a ruler in his own right, Dimitrie was
sent as a young boy to Constantinople, as a guarantee of
his father’s good faith towards the Sublime Porte. He
studied at the school of the Patriarchy, where, in
accordance with the curriculum of the famous
University of Padova, the following subjects were
taught: Greek, Latin, History, Geography, Literature,
Philosophy, but also the Art of Governance. Thus, the
young student-hostage has turned into a sophisticated
humanist, formed in the spirit of the Western values, but
who was, nevertheless, attracted at the same time by the
peculiarities of the Oriental environment in which he
lived (he has learned Arabic, Persian and Turkish, has
studied and written about the Muslim faith and the
Turkish music).
Due to his learned works on history, philosophy and
politics, written in Latin, Romanian, Turkish and
Russian, he has acquired great fame in the scholarly
circles, being elected a member of the Berlin Academy
(1714). At the same time, he had close relations with the
most important diplomats of the age, becoming intimate
with the arcane political manoeuvres of the four great powers of his day – The High Porte, France,
Austria and Russia.
He has understood, as a consequence of this, that after the disastrous failure of the Ottomans to take
Vienna (Kahlenberg, 1683), the balance of forces shifted to their detriment. Thus begun a process of
decline that, Cantemir hoped, would free his own country from their domination. Indeed, as soon as he
was elected ruler of Moldova (1710), he has signed a treaty with Peter the Great, which guaranteed the
independence of his principality. However, adverse military developments soon compelled him to seek
refuge in Russia (1713), where he would become a secret counsellor to Peter the Great. It was there
that he died, in 1723.
“An enlightened voivode, a man of the world as well as an ascetic scholar, Berlin academician and
Russian prince at the same time as Romanian chronicler, he reminds one of Lorenzo de’ Medici”,
commented George Călinescu, a famous literary critic. Scion of Machiavelli and precursor of
Montesquieu by his lucid evaluation of government types and marked by the experience of exile,
much like other great creators (Ovid, Dante or Petrarca), Dimitrie Cantemir emerges as a pivotal
personality at the intersection of the 17th century East and Baroque West.
His main works are Imago sacrae scientiae, metaphysica (Latin), The system of the Islamic faith
(Russian), Incrementa atque decrementa Aulae Othomanicae (Latin), Istoria ieroglifică (Romanian)
and Descriptio Moldaviae.
The last title is a work of maturity, written during his exile in Russia, at the behest of the Berlin
Academy. Descriptio Moldaviae is a complex monograph, reminding one of Tacitus’ Germania. Its
content, including elements of geography, history, politics, military arrangements, as well as
ethnography, delineates a well-articulated portrait of this Oriental region, which had started to arouse
the interest of Europe. The information presented is rigorous and the facts exact, within the limits of
the knowledge of his days. However, one can easily perceive the love and nostalgia that the author felt
for his native land, which he sometimes surrounds with the aura of an earthly Heaven. Nevertheless,
his critical spirit and his academic honesty compel him to mention aspects which are less
commendable, such as political intrigues and outdated mentalities.
Upon the author’s death, the manuscript was lost, only to reemerge, almost miraculously, a century
later. We can now enjoy a colourful and uniquely pleasant text, as you can judge for yourselves from
the following fragments.
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37
ORIGO MOLDAVAE NOBILITATIS, Descriptio Moldaviae, II. 15.
Nemo neget1 cives militesque Romanos fuisse, quos
Traianus, postquam2 Decebalum devicisset2, totumque
Dacicum regnum subvertisset3, in Daciam ceu4 novas
colonias5 deduxerat6. Mortuo Traiano, Hadrianus […]
5 Moldaviam retinuit7, ne millia Romanorum civium, qui
ibi erant, perderet.
Per tot saecula, quae Traianum et nos intercedunt8,
Romanum genus in Dacia propagatum9
conservatum10que fuit; unicum dubitaturis11 obiicimus12
10 argumentum13: dialectum14 Moldavicam, quae propius15
ullā aliā16 ad Romanum sermonem accedit, evidenter
[…] gentis nostrae conditores17 arguit18.
1
1. nego 1: to deny; 2. postquam [...]
devicisset: after having defeated; 3.
subvertisset: having destroyed; 4.ceu:
as, in the form of; 5. colonia , -ae f:
colony, colonist;
6. deduco 3, –duxi, -ductum: to send;
7. retineo 2, -tinui, -tentus: to keep; 8.
intercedo 3, -cessi, -cessum: to
separate;
9. propago 1: to expand; 10. conservo
1: to maintain; 11. dubitaturi, m.
(future participle < dubito 1): those who
would doubt; 12. obiicio 3, -ieci, iectum: to offer; 13. argumentum, -i
n.: evidence; 14. dialectus, -i f.:
language; 15. propius: closer; 16.ullā
aliā: than any other; 17. conditor ,-oris
m.: founder;18. arguo 3, -ui, -utum: to
demonstrate;
Comments:
2 Traianus, the first Roman emperor of provincial extraction
(Hispania), reigned between AD 98 and 117. Exceptional soldier
and administrator – he was given the title optimus princeps – he
succeeded in pushing the borders of the Empire to their
maximum extension: 3,300,000 km2.
Decebalus, king of the Dacian tribes which lived in the region of
Dacia (nowadays part of Romania)
5 Hadrianus (AD 117-138), Trajan’s successor, a prudent and
highly sophisticated emperor. He was forced to abandon some
Roman provinces and adopt a defensive policy.
For political reasons, some historiographers have questioned not so much the Latin origin of
Romanians, as their continuous occupation of the area around the Carpathians and the Danube. The
words Romanum genus in Dacia propagatum conservatumque fuit hints at this argument, which is
answered with the irrefutable linguistic evidence which follows.
1. The wars between the Romans and the Dacians (AD 101-102
and AD 105-106) have ended with the conquest of Dacia and
marked the beginning of the Romanisation process. The
attached images represent the two “chronicles in stone” of
these wars. Can you identify and place them on the map?
2. The first monument, 138 metres tall, used to be crowned
with Trajan’s statue in gilded bronze. Degraded by the
passage of time, it was restored in 1587, on the initiative of
Pope Sixtus V and has, ever since, supported the statue of
another. Do you know who that was and why this has happened?
3. Find out the name of the Dacian capital and the greatest natural resource that may be found in the
region.
4. What other Romanic languages could you name?
OPULENTIA POMORUM ET VINORUM, Descriptio Moldaviae, I. 5-6.
Ab occasu, ubi Transylvaniā et Valachiā contermina1 est,
Moldavia undique2 fere altissimis cingitur3 montibus;
reliqua eius pars orientem versus4 fertilissimis campis patet5.
Montes arboribus frugiferis6 […] naturā consiti sunt7, quibus
European Symbols
1. conterminus 3: neighbouring;
2. undique: on all sides;
3. cingo 3, cinxi, cinctum: to surround;
4. orientem versus: towards the East; 5.
pateo 2, -ui: to stretch;
6. frugifer 3: bearing fruits;
38
interpositi8, subinde9 a montium culminibus10 iucundo
sussuro ruentes11, limpidissimi rivuli12 speciem13
amoenissimi loci conciliant14 […]
At omnes reliquas terrae dotes15 longe superant egregia
vineta16, maximā fecunditate. Generosissimum vinum
nascitur Cotnari […] quod omnibus Europaeis vinis, nec
ipso Tocaiensi excepto17, praestantius18 et nobilius esse
affirmare ausim19. […] Colorem habet singularem20, viridem
nimirum21.
7. consero 3, -sevi, -situm: to plant;
8. interpono 3, -posui, -positum: to
place between; 9.subinde: often; 10.
culmen, -inis n.: mountaintop; 11. ruo
3, rui, rutum: to rush down; 12.
rivulus, i m.: small river; 13. species, ei f.: sight; 14. concilio 1: to offer; 15.
dos, -tis, f: dowry; 16. vinetum, -i n.:
vineyard; 17. nec […] excepto:
“making no exception, not even for the
wine of Tokaji”; 18. praestans, -tis :
distinguished; 19. ausim: I would dare;
20. singularis, -e: peculiar; 21.
nimirum: namely Comments:
Looking at the map, one may notice that the author simplifies
the geographic relations between the three provinces. Walachia,
currently known as Muntenia, lies, in fact, to Moldova’s SouthWest. The three regions now form Romania, but in Cantemir’s
days, they were independent: Moldova and Muntenia under
Ottoman influence, while Transylvania was under the rule of the
Hapsburg Empire.
1. Cantemir, who had been exiled from his country for many
years, obviously misses the landscape of his native land.
However, this description of a grove with trees and rivers as
an ideal resting place may in fact be the reflection of a
topos, the locus amoenus. Compare with Theocritus
XXII.36, Lucretius II.29, Vergil, Georg., II.467.
2. Which is the country of origin for the Tokaji wine? Could
you name other famous European wines?
ANIMALIA MIRABILIA, Descriptio Moldaviae, I. 7.
Longe ab <domesticis ovibus> diversae sunt oves
silvaticae1, quae labium superius2 ad duas palmas in terram
protensum3 habent, et hanc ob causam, cum pascunt4,
retrocedentes5 victum6 quaerere coguntur. In collo nullae
vertebrae, neque adeo ad dextram aut sinistram caput
deflectere possunt. [...]
In occidentalibus montibus aliud est animal, quod proprium
esse nostrae regioni fere ausim7. Zimbr a Moldavis vocatur,
magnitudine bovem domesticum aequat8, caput tamen minus
et oblongum, collum et ventrem graciliorem, pedes altiores,
cornua tenuiora9 et erectiora10 habet. Animal est ferox11 et
velox. Huius caput symbolum Moldaviae est.
1. silvaticus 3: wild; 2. superior, ius (comparative): upper;
3. protendo 3, -tendi, -tensum: to
hang; 4. pasco 3, pavi, pastum: to
graze; 5. retrocedo 3, -cessi, cessum: to walk backwards; 6.
victus, -us m.: food;
7. ausim: I would dare;
8. aequo 1: to be equal to;
9. tenuis, -e: slim;
10. erectus 3: straight; 11. ferox , ocis: savage, violent;
Comments:
Caesar, in his Bellum Gallicum, VI. 25-28, while describing the
fauna of the Hercynian Forest, takes time to describe a large bull,
the urus (bos primigenius). The Germanic populations called this
animal aurochs. Still prosperous in the Middle Ages – it was
Charlemagne’s favourite hunt – the species is nowadays extinct.
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39
So is the bour named by Cantemir, whose relative, the wisent, may be found today only in
reservations, as an endangered species. Animals of extreme force, ferocity and majesty, these wild
bulls often made their appearance on flags and coats of arms.
1. In the chapters of Caesar’s Commentariesmentioned before, besides some correct information,
there are also elements of fantasy, as there are in Cantemir’s narrative. Which are these and what
purpose could they serve for either of the two authors?
2. In the medieval bestiary, a central position is occupied by an imaginary animal, endowed with an
aura of purity and kindness. One of its most famous representations may be found today on a
tapestry in the Cluny Museum, in Paris. Do you know the name of this animal?
3. If you are interested in stamps, you may find out what the current price would be for the first
stamp ever to be printed in Moldova, Cap de bour.
4. Could the detailed description of the wisent be an echo of Virgil’s Georg., III. 50-59 (the fertile
cow)?
DE MOLDAVORUM MORIBUS, Descriptio Moldaviae, II. 17.
Iocosi1 sunt et hilares2, cor non longe ab ore remotum3
habent, sed ut4 inimicitiae facile obliviscuntur5, ita etiam
neque amicitiae longam conservant6 memoriam.
Nonnunquam7 etiam ad diluculum8 longa protrahunt9
convivia10, [...] sed tantum diebus festis, aut hibernis
tempestatibus11, cum frigus incolas intra parietes12
concludit.
Laudanda tamen est eorum hospitalitas erga peregrinos13.
Etenim14, licet Tartarorum vicinitate15 pauperrimi sint,
tamen panem et hospitium16 numquam negant hospiti, et
ipsum cum equis per triduum17 sine praemio18 alunt.
Advenientem laetā facie excipiunt19, tamquam fratrem aut
consanguineum
1. iocosus 3: fond of jokes; 2. hilaris, -e:
jolly; 3. removeo 2, -movi, -motum:
separate; 4. ut ... ita: as ... so;
5. obliviscor 3, oblitus sum (+ Genitive):
to forget; 6. conservo 1: to preserve;
7. nonnumquam: sometimes;
8. diluculum, -i n.: dawn; 9. protraho 3, traxi, -tractum: to prolong;
10. convivium, -i, n.: banquet;
11. tempestas: (here) = tempus;
12. paries, -tis m.: wall;
13. peregrinus, -i m.: stranger;
14. etenim: truly; 15. vicinitas, -tatis, f.:
vicinity;
16. hospitium, -i, n.: hospitable reception;
17. triduum, -ui, n.: space of three days;
18. praemium, -i, n.: reward, price;
19. excipio 3, -cepi; -ceptum: to receive;
Comments:
Confirmed by contemporary chroniclers from Italy and Hungary, the jolliness
and the humour of the locals have given birth to a very popular character in
the Romanian oral literature: Păcală, whose name has been created from the
verb “a păcăli”, meaning “to trick” or “to cheat”. Cunning and amusing, he
meets with adventures similar with those of Till Eulenspiegel.
In the 17th and 18th century, attacks by the Tartars (a Turkic population to the
East of Moldova) were still a common occurrence. Their lightning-fast and
unstoppable raids often resulted in lost crops and people taken prisoner. A
farmer’s work and even family were thus in jeopardy. Not only Moldova, but
also Transylvania, Wallachia, Poland and the countries around the Baltic
have fallen prey to their incursions. Nevertheless, the hospitality shown by
the people of Moldova remains proverbial, even today.
1. How could one synthesize, in just a few adjectives, the remarks in the text above? Do they name
just qualities?
2. What is the meaning of the metaphoric expression “cor non longe ab ore remotum habent” (their
heart is not far removed from their lips)?
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RUSSIA: Sigismund von Herberstein, Rerum Moscoviticarum Commentarii,
Vienna, 1549
by Elena Ermolaeva, Eugeneja Eliseeva, Appolinaria Martynenko
Siegmund (Sigismund) Freiherr von Herberstein,
(or Baron Sigismund von Herberstein) (1486–1566)
was a famous Austrian diplomat, writer, historian and
member of the Holy Roman Empire. He is most
known for his extensive writings on the geography,
history and customs of Russia, which were the first
source of knowledge about Russia for the Western
audience.
Herberstein was born in August 23, 1486 in
Vipava, in Western Slovenia, to Leonhard von
Herberstein and Barbara von Lueg, members of a
prominent German-speaking family, which had
resided in Herberstein Castle for nearly 200 years.
Little is known of his early life apart from the fact that
he learned some Slovene, the Slavic language spoken
in the region. This knowledge played a significant role
later in his life. In 1499-1502 he studied philosophy
and law in the University of Vienna, University of
Vienna, where he also belonged to the circle of the
outstanding German humanist Konrad Celtis. In 1506
he entered the army as an officer and served in a
number of campaigns. In 1508 he was knighted by the
The bronze Herberstains bust in Moscow by G. Ponozky
Maximilian I of Habsburg. In 1515 Herberstein began
a long diplomatic career as a member of the Imperial
council, or Parliament. Between 1515 and 1553, he carried out approximately 69 missions abroad,
travelling throughout much of Europe, including
Turkey.
The title page of “Rerum Moscovinicarum
Commentarii “ (Italian translation)
He was twice sent to Russia as the Austrian
ambassador, in 1517 to negotiate a truce between
Russia and Lithuania and in 1526 to renew a treaty
between the two, which had been signed in 1522. These
visits provided him with the opportunity to study a
hitherto largely unknown Russian society. Herberstein's
knowledge of Slovene, acquired in his youth, allowed
him to communicate freely with Russians, as Slovene
and Russian languages are related. He probably wrote
his first account on Russia between 1517 and 1527, but
no copy of this account survives. In 1526 he was asked
to produce a formal report of his experiences in Russia,
but this report remained in the archives until he was
able to revise and expand it, which he pprobably did in
the 1530s. The result was his major work written in
Latin
and
entitled
Rerum
Moscoviticarum
Commentarii, firstly published in 1549 in Vienna. This
work became the main source of knowledge on Russia
in Western Europe. Sigismund Herberstein died in
Vienna at the age of eighty, in full glory. His
Commentarii were translated into many European
languages and published many times all over the world.
The Russian National Library in Saint-Petersburg holds
one of the most rare Latin copies, that of the Basel
edition of 1571.
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1. Etymologia nominis Russia
1
Russia
unde
nomen
habeat,
variae1
extant2
1. varius, -a, -um: different; 2.
extant: exstant;
opiniones. Sunt enim qui eam a quodam Russo, fratre
seu nepote Lech3, principe Polonorum4, perinde ac si
ipse
5
Rhutenorum5
princeps
fuisset,
nomen
accepisse6 volunt. Alii autem a quodam vetustissimo7
oppido, Russo dicto, non longe a Novuogardia
magna. Quidam vero a fusco8 eius gentis colore.
Plerique nomine mutato a Roxolania Russiam
cognominatam9 esse putant. Verum eorum qui hasce
10 afferunt opiniones, tanquam vero haud consonas,
Mosci refutant, afferentes Rosseiam antiquitus10
appellatam,
quasi
dispersam11,
gentem
seu
disseminatam12: id quod nomen ipsum indicat.
Rosseia etenim, Rhutenorum lingua, disseminatio13,
15 seu dispersio13 interpretatur. Quod verum esse varii
populi incolis etiamnum
provinciae
interiacentes
Russiae
3. Lech: the ancestor of the Poles;
4. Polonii, -orum m.: the Poles;
5. Rutheni, -orum m.: the
Russians;
6. accipio 3M accepi: to obtain
(eam accepisse – ACI); 7.
vetustissimus: very old (gradus
elativus);
8. fuscus, -a, -um: here means
light-brown, there is a popular
etymology for Russus as a
consonant to Russian word rusyj –
with light brown hair;
9. cognomino 1: to give the name;
10. antiqitus, adv.: ab antiquitate;
11. dispersus, -a, -um: scattered;
12. disseminatus, -a, -um:
scattered;
13. disseminatio, -onis, f. =
dispersio, -onis, f.: the scattering
(populi vel exercitus);
permixti et diversae
passim
intermixtae
ac
aperte testantur. Notum est autem
historias sacras legentibus disseminantionis vocabulo
20 etiam Prophetas uti, cum de dispersione populorum
loquuntur. Nec tamen desunt, qui Russorum nomen ex
Graeca, atque adeo ex Chaldaica origine, non
multum dissimili ratione trahant. A fluxu14 nimirum15,
qui Graecis est ·oàj [rus]
14. fluxus, -us, m. (Ancient Greek,
·oàj (·Òoj)) – stream, spray.
15. nimirum – certe.
Comments :
1 Russia – Herberstein uses the term Russia in two senses: as an Eastern Slav territory in the border of
the Old Russian state, and as the Russian state of the late 15th – early 17th centuries.
6 Russo dicto – Staraya Russa (=Old Russia) – city near Lake Ilmen. It is one of the oldest Russian
settlements, first appearing in records from 1167; Novuogardia magna – a Latin transliteration of the
Russian name Novgorod (litterary Oppidum Novum; compare to: Neapolis, Neuchâtel, Nijmegen). It
was first mentioned in 859 in the oldest national annals — the Russian Primary Chronicle.
7 fuscus, -a, -um –light-brown, there is a popular etymology for Russus as a consonant to Russian
word rusyj – with light brown hair.
8 Roxolania, Roxolanes – the ancient name of one of the Sarmatian tribes of Volga Region that lived
in the Black Sea area till the invasion of Huns (IV c. AD).
11 Mosci – in Herberstein’s Commentarii this word is used passim for the designation of the Russian
people; Rosseiam is consonant to the Russian word [rasseiannyj, rosseiannyj] which means dispersed
(dispersus, lat.).
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42
20 Propheta (Ancient Greek, prof»thj from prÒfhmi)
– sc. biblical prophet (in auctoribus
Ecclesiasticis).
22 Chaldaicus, -a, -um (from [khaldei] babylonian Kaldu and Χαλδα‹οι) – the name of people that
lived in the swampy region situated in the mouth of Tigris and Euphrates on the North Western shore
of the Persian Gulf.
1. Style of which Latin author does the fragment recall?
2. Which form is fuisset and why it is used here?
3. What variants of the words extant, ex Graeca, ex Chaldaica do you find more often in the
Classical Latin texts?
4. Which Latin synonyms to the word prоpheta, -ae, m do you know?
5. How many popular etymologies of the word Russia does Herberstein give in this passage?
2. Novuogardenses: domini et servi
1
Accidit praeterea, ut Annales eorum referunt, dum
Novuogardenses Corsun Graeciae civitatem1 ad
1.civitas, -atis, f. = urbs;
septem perpetuos annos gravi obsidione premerent,
5
interim uxores eorum morae pertaesae2, tum etiam de
2. pertaesus, -a, -um: feeling disgust;
salute ac3 adventu maritorum dubitantes, servis
3. ac: atque;
nuberent. Expugnata tandem civitate, quum4 victores
4. quum = cum;
mariti ex bello reversi, aereas portas superatae urbis
ac magnam quandam campanam, quam ipsi in
cathedrali
10 attulissent:
eorum
servique
Ecclesia
dominos,
vidimus,
secum
quorum
uxores
duxerant, vi repellere conarentur: domini indignitate
rei
commoti, depositis, cuiusdam consilio, armis,
lora et fustes tanquam in mancipia arriperent: quibus
servi territi, inque fugam conversi, loco quodam qui
5. lorum, -i, n.: lash; 11. fustis, -is,
m.: stick;
12. convertere fugam: to put to flight;
15 etiamnum Chloppigrod, hoc est Servorum castrum
dicitur, se reciperent defenderentque. Verum victi
meritis a dominis suppliciis affecti fuere.
Comments:
1 Annales, -um, m. – records year by year of the events in a city, a region or a country; Herberstein
had read the Russian Annales and translated some parts of them in his book.
2 Novuogardia – Novum oppidum, today a city on the North-West of Russia (Veliky Novgorod); one
of the cultural centres of Ancient Russia; Corsun – its ancient name was Chersonesos (Χερσόνησος);
an ancient Greek colony founded around the 6th century BC by settlers from Heraclea Pontica in the
European Symbols
43
southwestern part of Crimea, which was then known as Taurica. Its
Byzantine Greek name is Χερσών; Old East Slavic one is
Corsun.Today Sevastopol. The grand prince of the Ancient Russia,
Vladimir the Great was christened in Corsun in the 10th c.
7 aereas portas – one can still see Aereas portas in Novgorod in
Cathedral of Saint Sophia.
9 cathedralus Ecclesia – main orthodox cathedral.
15 Chloppigrod is a Latin transliteration of the Russian name of a
small town-fortress built about the 10th c. by fugitive slaves;
Choloppus vel chlopus means servus, grod – oppidum-castrum. In
fact this story about the fugitive slaves is absent in Russian Annales,
Herberstein took this story from Scythus Logos in Herodotus’
“Historia”, IV, 3-4 and contaminated it with popular Russian stories
about the “Slaves war” in Novgorod. Herberstein could also use
Marcus Junianus Justinus’ “Epitome of the Philippic History of
Pompeius Trogus”, II, 5.
Herberstein in Russian clothes (Engraving
by A.Khirshfogely)
1. Read an ancient source of Herberstein (Herodotus.
“Historia”, IV, 3-4) and compare it to this passage. What is common and different?
2. What does Chloppigrod mean?
3. Why did “domini Novuogardenses” take only lashes?
4. What variant for fuere do you find more frequently?
Map of Moscovia (source: http://commons.wikimedia.org/wiki/File:Herberstein-Moscovia.jpg, PD-Art [23.7.2010]
European Symbols
44
Sweden: The royal warship Wasa
by Eva Schough Tarandi, Sweden
As the 17-year-old king
Gustavus Adolphus ( Gustaf II
Adolf) succeeded his father Karl
the IX to the Swedish throne
1611, Sweden was at war
against Denmark, Russia and
Poland. “Even if there was a
peace treaty in 1617, the war
with
Poland
continued
throughout the whole reign of
Gustav II Adolf. He had a
heavy program for expanding
Swedish territory. His policy
was to make the Baltic Sea his
“mare nostrum”. He was
initiating
the
Swedish
intervention in the thirty years’
war, protecting his interests in
ports and commerce in northern
The Wasa (photo: Andreas Thiel)
Germany but also facing the
catholic threat, the expansion of
the Habsburg and the Emperor. In Germany there was a prophecy of “der Löwe aus der Mitternacht,
since the 14th century, connected to the prophecies from the old Testament talking about God’s
punishment of Roman Babylon. To the protestants this prophecy was of renewed actuality and Gustav
II Adolf, as the representative of the protestant North, was “the Lion from the North”, the protector of
the protestant faith against the mighty catholic church. He was aware of this and used it in his
propaganda, posing himself as a lion with a crown disembarking in Germany, fighting the catholic
opponents sometimes pictured as a hydra. The decoration consists of many symbols of Power and
Glory; the Coat-of-Arms of the Vasa family, lions, a young Hercules and an experienced Hercules,
king David, king of the Jews and the killer of Goliath. It also consists of grotesque heads, Tritons and
Nereids, innumerable warriors in Roman or 15th century armours and last but not least of twenty
Roman emperors starting with Tiberius. The reason for not including Augustus is simple. By creating
an anagram it is easy to see that the greatest Roman emperor was thought to have been reborn in the
17th century Swedish king, Gustavus.
Sweden was always at war these days and Gustav II Adolf modernized and renewed the Swedish fleet.
In 1625 four new warships were ordered to be built by the Dutch shipbuilder Henrik Hybertsson and
his brother, who lived in Stockholm and built ships on a contract basis at the Royal Shipyard in
Stockholm. The ships were to be built within four years. The two larger ships were Wasa and Three
Crowns. Ships were normally named after symbols of the reign like “the Apple”, “the Sword” etc.
The “vase” is a corn sheaf, the symbol of the Vasa family, their coat-of-arms. The keel was laid in
spring 1626, 38 meters long. The total length was 61 meters including the beak-head. The total height
was 52 meters. The ship was a “double decker “, i.e. it had two gun decks, probably the first of its kind
in Sweden. Unfortunately, this novel invention proved disastrous. On the 10th of August 1628, when
the Wasa was ready for her maiden trip, she set sails and after a few gusts of wind she went to the
bottom just outside Stockholm harbour.
At first attempts to lift the ship were made but nothing was achieved except righting her in her keel.
For 50 years efforts were made to salvage the treasures, and some bronze cannons were actually
rescued. Soon the Wasa was left and forgotten. In 1920 the historian Nils Ahnlund found facts about
the fate of the flagship, e.g. letters to the king describing the event and other documents in the
archives, and wrote an article in one of the largest national newspapers, Svenska Dagbladet. He had
theories about its location but it was the amateur marine archaeologist Anders Franzén, probably
inspired by the article, who located it 36 years later and lifted the Wasa in April 1961 in cooperation
with the private company Neptunbolaget and the navy.
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45
1. Short selection from the panegyric work by Clemens, Venceslaus, Gustavis, Bohemia, 1589-1636.
At LEO nunc veniat! Veniet LEO tempore fixo.
Vae tibi! Vae BABYLON1 scelerata, tuisque Cynaedis2!
Vae tibi! Vae Meretrix3!
( Gustavis 2, p.32)
Imprimisque videt, quam sit labor arduus Hydram
vincere , ab Ausoniis4 flammas quae ructat5 in Orbem.
( Gustavis 5, p.81)
…Arctous6 hic ille est
Alcides7, felix et fortunatus in hostes.
( Gustavis 1, p.1)
…clava est opus Herculis, hamo8
non capitur: clava9 contunditur10 Hercules, ille
( Gustavis 2, p.30)
deplumet11 captam…..
….validis qui fulminat armis
Barbariem contra, Latios et comprimit Angues12…
( Gustavis p.120)
1. Babylon: ” the great whore of the
Revelation”; 2. Cynaedus, -i m. (
cinaedus-a-um): unchaste, impudent,
shameless, pervert; 3. meretrix, -icis
f.: whore, prostitute;
4. Ausonius-a-um: poet.Italian, Latin,
Roman; 5. ructo 1: belch;
6. Arctous-a-um: northern;
7. Alcides, -is m.: the son of Alceus,
Hercules;
8. hamus, -i m.: hook;
9. clava,–ae f.: cudgel;
10. contundo3: beat, break to pieces;
11. deplumo 3: pluck the feathers of;
12. anguis,-is m.: snake ( here of the
pope and catholic priests)
1. What symbols from history and mythology are used to justify Gustav II Adolf’s claims to power
and conquests for Sweden?
2. Is there a contemporary parallel where a state or a union of states uses this kind of images to create
a certain picture of the enemy and create heroism on their own side?
2. Ovidius, Metamorphoses, 11, 236- 265: The Myth of Peleus and Thetis
The Metamorphoses of Ovid were read through the Middle Ages and Renaissance but at this time with
a more symbolical and allegorical interpretation. “Ovide moralisé”, a French edition of the texts, was
very popular and much read, with an added moral comment or explanation and a motto or sentence to
sum up. In the case of Peleus and Thetis (Met. XI, 221-265) it was “Labor omnia vincit improbus”
“Incessant work conquers all”, since Peleus does not avoid any hardship to win Thetis. In another
myth (Met. XI, 749-795) the noble Aesacus, son of Priamos of Troy, loves the nymph Hesperia. She
tries to avoid him and she is bitten by a snake and drops dead. Aesacus in his despair throws himself
into the sea but the sea goddess Thetis changes him to a loon, spending the rest of his life swimming in
the sea. The moral is that even if you lose what you struggle for, the fight, the tenacity and
perseverance will be rewarded through the intervention of a higher power.
European Symbols
46
The Myths of Peleus and Thetis and Aesacus from the galleon freeze
(photos: Andreas Thiel)
The ship’s beak (source:
http://hem.bredband.net/johava/foreship2.JPG )
The original
Peleus pursuing Thetis
The original
Aesacus as a loon
The original
...............................quo saepe venire
frenato1 delphine sedens, Theti2, nuda solebas.
illic te Peleus, ut3 somno vincta4 iacebas,
occupat5, et quoniam precibus6 temptata7 repugnas8,
vim parat9, innectens10 ambobus colla lacertis11;
quod nisi venisses variatis saepe figuris
ad solitas12 artes13, auso foret ille potitus14;
sed modo tu volucris15: volucrem tamen ille tenebat;
1. frenatus-a-um reined; 2. Theti:
vocative; 3. ut: with indicative as soon
as; 4. vincta (ppp vinco3) somno
abl.causae; 5. occupo1: here: seize; 6.
preces, -um f. pl.: pleas, requests; 7.
temptatus-a-um: besetted, strived for;
8. repugno1 alicui rei: resist;
9. vim paro1: use violence, take
measure; 10. innecto3: snare, entangle;
11. lacertus, -i m. : arm;
12. solitus-a-um usual, ordinary;
13. ars, artis f. : here: method, way,
trick; 14. potior potitus sum 4: to get
hold of; 15. volucris –is f.: bird;
nunc gravis arbor eras: haerebat in arbore Peleus;
tertia forma fuit maculosae16 tigridis17: illa
16. maculosus-a-um stained, with
spots; 17. tigridis-e of a tiger;
territus Aeacides a corpore bracchia solvit.
inde deos pelagi18 vino super aequora fuso19
et pecoris fibris20 et fumo21 turis22 adorat23,
donec24 Carpathius25 medio de gurgite26 vates27
European Symbols
18. pelagus-i: sea; 19. fundo fudi
fusum 3: pour; 20. fibra-ae f.:
intestine; 21. fumus-i m.:smoke; 22.
tus- turis n.: incense; 23. adoro1: pray,
entreat; 24. donec: until;
25. Carpathius –a-um: of the Aegian
47
'Aeacide,' dixit 'thalamis28 potiere29 petitis30,
tu modo, cum rigido sopita31 quiescet in antro,
ignaram32 laqueis33 vincloque34 innecte35 tenaci36.
nec te decipiat37 centum mentita38 figuras39,
sed preme40, quicquid erit, dum, quod fuit ante, reformet41.'
dixerat haec Proteus et condidit42 aequore vultum
admisitque43 suos in verba novissima44 fluctus45.
Now Titan was low in the sky, and, his chariot pointed
downwards,
was close to the western ocean, when the lovely Nereid left
the waves,and came to her accustomed bed. Peleus had
scarcely taken a good grip of her virgin body, when she took
on new forms, until she realised her limbs were tightly
bound, and her arms spread wide apart.
tum demum46 ingemuit47, 'ne' que ait 'sine numine vincis'
exhibita48 estque Thetis: confessam49 amplectitur50 heros
et potitur votis ingentique inplet Achille.
sea; 26. gurges gurgitis m.: gulf;
27. vates- is m.: seer, Carpathius vates
= Proteus; 28. thalamus, -i m.:
matrimonial bed, matrimony;
29. potiere = potieris; 30. peto petivi
petitum 3: ask for; 31. sopitus-a-um:
slumbering; 32. ignarus-a-um: not
familiar, not knowing; 33. laqueus, -i
m.: snare, fetter; 34. vinclum, -i n.:
band, fetter; 35. innecto3: tie;
36. tenax –cis: gripping,holding fast;
37. decipio 3: fool, betray; 38. mentior
mentitus sum 3: lie; 39. figura, –ae f.:
form, shape; 40. premo3: press;
41. reformo1: change shape; 42. condo
condidi conditum 3: hide; 43. admitto,
admisi admissum3: let go, admit;
44. novus -a-um: here: last; 45. fluctus
–us m.: flow;
46. tum demum: then at last;
47. ingemesco- ui- itum 3: sigh;
48. exhibitus-a-um: shown, revealed;
49. amplector 3: embrace;
50. confessus-a-um: acknowledge,
admit
Why was this particular scene from the story of Peleus and and Thetis chosen as an illustration on the
Wasa?
Roman Emperors on the Wasa’s beakhead
(photos: Andreas Thiel)
Sources:
-
Hans Soop: The Power and the Glory. The sculptures of the Warship Wasa. 1986
-
Latin text : Peleus et Thetis: http://www.hsaugsburg.de/~harsch/Chronologia/Lsante01/Ovidius/ovi_me11.html#05
Hans Soop: Flytande palats. 2007
Gustavis , Veneslaus Clemens :Selection made of Professor emeritus Hans Helander in his talk
“The Herculesmotif in the Latin literature in the STORMAKTSTIDEN “at the meeting of the
Barockakademin 20-21 Nov 2008
European Symbols
48
Switzerland: William Tell
by M.-Christine Haller Aellig, Switzerland
Brutus erat nobis, Uro in arvo,
Assertor patriae, vindex ultorque tyrannum.
Henricus Glareanus, Helvetiae Descriptio (1514)
Uri, Schwyz, Unterwalden –the Waldstaetten – are
the cradle of the Swiss Confederation. At the end of
the 13th century indeed citizens of these regions are
supposed to have pronounced the Rütli16 Oath. Their
alliance was formulated in the Federal Pact,
traditionally dated August 1st, 1291.
After the fall of the Western Roman Empire and the
ensuing disorders, the territories which would later
form German Swiss cantons went through many
vicissitudes before being subordinated to the
Habsburgs, a house native from Aargau (northern
part of modern Switzerland) incorporated at the time
in the Holy Roman Empire. In the last quarter of the
13th century the Habsburgs extended their influence
to the south-eastern part of the Empire: Austria.
The Rütli Meadow (photo: F. Rytz)
When the Duke of Austria acceded to emperorship,
the relations between the alpine regions of the Waldstaetten and the Holy Empire were deeply transformed.
Up to that time the “Swiss” who depended directly on the Emperor had enjoyed special privileges that the
Habsburgs then suppressed because they were interested in taking advantage and making profits of the
opening of the alpine passes to traffic. More particularly in that case, the military and trade route over St.
Gotthard. Governors (Vögte) representing the Austrian power were imposed on those regions. Some of them
soon handled the population tyrannically. Autochthones that claimed their rights and liberties rose up17.
In this context appears William18 Tell, the national hero that the Swiss humanist Glareanus compares with
Brutus, the liberator and avenger of the tyrants. If William Tell is regarded as the liberator of his homeland,
usually he is not counted among the founders of the Old Confederation. No document of that time mentions
his name or existence. Doubtless he never existed as such, but his character crystallized because of the
successful independence struggles of the Waldstaetten against the Duke of Austria.
Transmitted orally at the beginning, the legend of William Tell appears first in popular literature in the
Ballad of Tell (Tellenlied) in the middle of the 15th century and in a theatre adaptation of the story some
years later (first known performance in 1512). Around the same period (1470) the White Book of Sarnen (das
Weisse Buch von Sarnen) mentions William Tell; his name also appears in the Chronicon Helveticum by
Aegidius Tschudi seventy years later. All those texts are written in the vernacular language of this part of the
country (German). Other humanists refer to the heroic actions of William Tell in Latin; either they write
immediately in Latin, or they translate German texts into Latin.
The traditional actions of William Tell are set at three moments in time. The central part – the shooting of
the apple off Tell’s son’s head – sounds more like a legend than like an authentic fact. Actually several
Nordic sagas and other legends tell about a famous marksman compelled to prove his skill in dramatic
conditions. The episode that probably is the most akin to the shooting of the apple by William Tell is to be
found in the Gesta Danorum, a chronicle written around 1200 by Saxo Grammaticus. Very seemingly
travellers from the North, resting for a while at the bottom of the St. Gotthard before crossing the Alps to
Italy told their legends that found there a fertile ground and prospered.
16
Name of a meadow above Lake Lucerne (Vierwaldstaettersee in German). Lucerne joined the alliance in 1332.
Around 1420 the Bernese chronicle writer Konrad Justinger refers to the despotism and abuses of power of the
Austrian governors without mentioning William Tell.
18
Wilhelm in German, Guillaume in French, Guglielmo in Italian, and Guglielm in Romansh, our four
languages.
17
So much for the myth. The two other parts of the text and the story itself, William Tell personifying the
struggles for liberty and the murder of the tyrant, have been successful for a long time. After the fights and
the enlargement of the Confederation in the 16th century, William Tell was again up to date in the 18th
century19. He and the other heroes of the Old Confederation were celebrated as ideal historical figures,
fighters for human rights, representatives of republican virtues not only in Switzerland but also in France,
where at the time of the Revolution Tell joined again Brutus and other
Roman tyrannicides and heroes of liberty in the revolutionary pantheon.
At the very end of the 18th century, during the struggles for independence
in America, a play about William Tell was performed in Philadelphia!
Soon after, in 1804 the German poet Friedrich Schiller made William Tell
the hero of the eponymous drama: a man close to nature, active, loving
liberty but bound with his compatriots in
their fight against tyranny20. That inspired
Gioacchino Rossini’s opera Guillaume Tell
created in Paris in 1829.
In Switzerland the Tell iconography from
the Middle Ages up to now is very rich. Let
us mention only two among the most
famous Tells: the Tell monument by
The Tell Monument by R. Kissling
Richard Kissling (1895) in Altdorf, the
(photo: F. Rytz)
capital of canton Uri and Tell’s homeland,
5 franc coin (source: en.ucoin.net)
and the painting by Ferdinand Hodler (1897)
which is very popular and represented everywhere in every context. In the 21st century the 5 franc Swiss coin
is still
adorned with the effigy of William Tell!
Josias Simler21 (Simlerus, 1530 – 1576), De Republica Helvetiorum, 58 sqq.
Tellii historia
Caeterum <Grislerus1> cum animos omnium exasperatos2 et a
se alienatos3 esse cerneret, metuens occultam aliquam
conspirationem, ut eam investigare4 posset, hoc consilio usus
est. Altorffi5 in foro, quo maxima hominum totius regionis
frequentia convenire solet, pileum6 praelongae perticae7
1. Grislerus, -i, m.: name of the
Austrian governor (praefectus, -i, m./
German: Vogt), today known as
Gessler 2. exasperare: to irritate 3.
alienare: to alienate
4. investigare: to find
5. Altorffum, -i, n.: Altdorf (name of
a place in Uri)
6. pileus, -i, m.: hat 7. pertica,
-ae, f.: perch, pole
imponit ac omnes iubet, nudato capite flexisque genubus,
honorem eum pileo exhibere quo se praesentem afficere8
consuevissent: existimabat autem eos qui prae ceteris9 sibi
8. aliquem honore afficere: to pay
one’s respect to, to honour
9. prae ceteris: more than the others
infensi essent nequaquam adduci posse ut tantum honorem
pileo exhibeant, praesertim si confidant aliorum auxiliis
quibuscum convenerint; hac autem occasione posse se
honesto titulo10 in eos animadvertere et tormentis ad
exploranda consilia aliquos subiicere.
19
10. titulus, -i, m.: pretext
11. Urii, -orum, m.: people of Uri
12. confoederatus, -i, m.:
confederate (some people of the
region were joined in a league in
order to resist the tyranny of Gessler
– and each time when independence and liberty must be reaffirmed up to now.
Tellspiele (the play by Schiller actually) regularly staged either in open air as in Interlaken at the bottom of the
Alps and near a lake or inside as in Altdorf in the Tellspielhaus are very popular with Swiss and foreign tourists.
21
Simler (http://fr.wikipedia.org/wiki/Josias_Simmler) was interested in making known his native country and
translated from German into Latin (the language of educated people all over Europa) parts of the Great Chronicle
of Johannes Stumpf: Gemeiner loblicher Eydgnoschafft Stetten, Landen und Voelckeren Chronick wirdiger
thaaten Beschreybung (1548). Simler had a vast plan of which the De Helvetiorum Republica is a fragment.
20
(…) Interea accidit apud Urios11 ut Vuilhelmus Tellius,
confoederatorum12 unus, aliquoties pileum illum stipiti13
impositum praeteriret, nullo reverentiae14 et honoris signo
exhibito. Ob hanc causam a praefecto15 accusatus, suam
and to get their independence) 13.
stipiti cf. perticae
14. reverentia, -ae, f.: respect 15.
praefecto i.e. Gessler
16. suam rusticitatem excusare: to
plead as an excuse for his peasant
habits
rusticitatem excusabat16, qui non existimasset ullius hoc
17. momentum, -i, n.: importance
momenti17 esse. Sed praefectus, qui hominem suspectum
18. aliquem suspectum habere: to
suspect someone 19. charum =
carum
20. vertice = capite 21. pomum,
-i, n.: apple
haberet18, e liberis eius filiolum unice charum19 patri deligit et
in vertice20 huius pomum21 sagitta petere illum iubet (erat
enim Tellius optimus sagittarius), ni illud deiiciat, capite
poenas daturum. Tellius vero hanc rem inauditi exempli22
dicere, seque potius mori paratum quam ut sagitta forte
22. <esse> inauditi exempli: to be of
unheard severity
23. ferire: to strike
23
aberrante charissimum filiolum feriat . Cui praefectus: “Ni
ieceris, tibi una cum filiolo pereundum erit.” Quare cum
sumpto, Tellius, Deo haud dubie iactum gubernante, pomum e
24. Traditionally Tell who was not a
soldier but a huntsman used a
crossbow. At that time that kind of
weapon was extremely precise from a
distance of 30 to 80 meters.
vertice filii deiicit. Omnibus autem felici iactui gratulantibus,
25. satiari: to be sated
24
nullus excusationi aut ullis precibus locus relictus esset, arcu
unus praefectus satiari
25
hac poena non potuit; verum cum
26
27
sagittam alteram thoraci Tellii insertam cerneret, quaerit in
quem usum hanc quoque e pharetra28 deprompserit29. Cui ille,
id moris esse et in consuetudine sagittariorum positum, ut
geminas sagittas depromant. Sed res praefecto suspecta30 erat,
itaque hominem acrius urget et tandem, vitae impunitate31 illi
32
26. thorax, -cis, m.: waistcoat 27.
insero, -is, -ere, -ui, -tum: to put in
28. pharetra, -ae, f.: quiver
29. depromo, -is, -ere, -psi, -ptum:
to draw out
30. suspectus, -a, -um: suspicious
31. vitae impunitas, -atis, f.:
immunity
32. elicio, -is, -ere: to coax
proposita, verum elicit : eum scilicet hoc consilio sumpsisse
alteram sagittam, ut si priore filium feriisset, secunda
33. uti = ut
praefectum peteret. Tum vero praefectus se quidem, uti33
promiserit, vitam illi non erepturum esse inquit, caeterum
coniecturum in perpetuos carceres, ubi omni hominum
34
alloquio
ac lucis usu privatus, miseram in tenebris vitam
35
degat ; simulque vinctum navi imponi iubet, ut eum ex
36
Uriorum regione Cussenacum abducat.
Iamque medio lacu navigabant, cum subito gravis tempestas
37
38
navim concutere et fluctibus paene obruere coepit. Ibi cum
in summo vitae discrimine39 omnes versarentur40, quidam e
servis41 Grisleri monet dominum unicam salutis spem
34. alloquium, -i, n.: talk
35. degat = agat
36. Cussenacum, -i, n.: Küssnacht, a
place where Gessler had his castle
37. concutere: to agitate violently
38. obruere: to overwhelm, to ruin
39. discrimen, -inis, n.: danger
40. versarentur = essent
41. servus, -i, m.: servant, assistant
42. gubernaculum, -i, n.: helm
superesse, si vinctus Tellius solvatur et gubernaculo42
adhibeatur : hunc enim navigandi peritissimum esse et simul
43. pollere: to be strong
quoque robore corporis multum pollere43. Necessitate urgente
omnes id consilium probant ac Tellium solvunt. Ille vero,
gubernaculo sumpto, vix multa vi e fluctibus navem eripit et
44
eam adversus Suitiorum terram dirigit, quo loco non multum
a litore ingens saxum supra undas eminet45 (Tellii saxum
44. Suitii, -orum, m.: people of
Schwyz
45. emineo, -es, -ere: to stand out
46. nuncupant = vocant
46
hodie nuncupant ). Huic cum appropinquasset, arrepto arcu
suo (forte pone
47
ipsum in puppi iacebat), in saxum hoc
48
49
desilit et simul, quanto maximo potest nisu , navim pedibus
in fluctus repellit atque inde se fuga in proximos montes
proripit50. Navis vero diu fluctuans51 tandem a servis praefecti
portui quem Brunnam52 a fontibus nominant appellitur53. Inde
cum praefectus Cussenacum peteret et illi inter Artam54 et
Cussenacum via quadam profunda55 iter faciendum esset,
Tellius locorum peritus, ea commoditate56 captata, illuc se
abdidit inter fruteta57 et praetereuntem praefectum sagitta
conficit. Extat58 nostra aetate sacellum59 eo loco quo
praefectus caesus est et alterum in saxo in quod Tellius e navi
47. pone + acc.: behind
48. desilire: to jump 49. nisus,
-us, m.: effort
50. se proripere: to rush forth
51. fluctuans, -tis: being agitated in
the waves 52. Brunna, -ae, f.:
Brunnen, a lakeside place (in German
Brunnen means fons) 53. appello, -is,
-ere: to put ashore
54. Arta, -ae, f.: Arth, a place at the
southern end of Lake Zug 55. via
quadam profunda: this very deep
and narrow path where they had to
pass was and is still called die Hohle
Gasse in German 56. commoditas,
-atis, f.: advantage 57. frutetum,
-i, n.: bush 58. extare: to exist 59.
sacellum, -i, n.: chapel
desilit, perpetua rei gestae monumenta.
Questions and Tasks :
1. Search for and locate the following places on Google Earth:
a. Switzerland and Lake Lucerne (Vierwaldstaettersee) b. Cantons Uri, Schwyz and Unterwalden (=
Obwalden + Nidwalden) c. The St. Gotthard Pass (search for the main road from the end of the lake, and
follow over the Alps as far as Airolo. d. Altdorf and Tell’s Monument e. Bürglen and Tell’s House f.
Tell’s Rock and Chapel near Sisikon g. The Rütli Meadow on the opposite side of the lake h. The port of
Brunnen i. Küssnacht and Gessler’s castle j. Die Hohle Gasse and the Chapel between Küssnacht and
Arth.
2. Download and copy the Apple Episode in Saxo Grammaticus’ Gesta Danorum (10, 7, 2-3) from
http://www2.kb.dk/elib/lit//dan/saxo/lat/or.dsr/10/7/index.htm. The bold archer Toko, hero of the story,
was compelled by his lord, King Harald, to shoot an apple off his son’s head (10, 7, 1).
Then answer the following questions:
a. Saxo writes the history of the Danes, and Simler that of the Swiss. Is their manner the same in this
passage? b. Compare how Toko and Tell prepare their sons for the ordeal. Who is more careful?
Explain. c. Is there any difference in the archers’ material? d. Compare both boys and both fathers. How
old do you think they are? Justify your answer. e. What do we know precisely of the boys’ sentiments
and qualities at the moment? f. Now consider Saxo’s opinion, expressed in a very balanced way, and
find out the qualities that Saxo attributes to the father and to the son. Which term sums up the boy’s
attitude? What is the consequence of this attitude for father and son?
3. Grammar: a. Explain the use of the subjunctive in the following clauses: 1. sed praefectus, qui
hominem suspectum haberet, e liberis eius filiolum unice charum patri deligit. 2. praefectus quaerit in
quem usum hanc quoque e pharetra deprompserit b. Explain the use of the infinitive in the following
cases: 1. Omnes iubet honorem eum pileo exhibere quo se praesentem afficere consuevissent. 2. Tellius
vero hanc rem inauditi exempli dicere. 3. Quidam e servis Grisleri monet dominum unicam salutis spem
superesse, si vinctus Tellius solvatur et gubernaculo adhibeatur : hunc enim navigandi peritissimum
esse. c. Explain the use of the Gerundive and Gerund in the following cases: 1. … et tormentis ad
exploranda consilia aliquos subiicere. 2. … hunc enim navigandi peritissimum esse. 3. Illi inter Artam
et Cussenacum via quadam profunda iter faciendum esset.

European Symbols

Transcription

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